WORK EXPOSED IN MADRID ABIERTO: IINSERT THE NAME OF THE CITY HERE

EDUCATION ·    Graduated as engineer-architect, 2001, University of Gent, Belgium. EXPOSICIONES INDIVIDUALES (SELECCIÓN)/ SELECTED SOLO EXHIBITIONS

2009·    Like Lips, Like Lettuce, Buro Leeuwaarden, Fries Museum, Leeuwaarden, Nederland. ·    Breathe out as you rise to the surface of the water, Stichting Luc Peire, Knokke, Belgique.

2008·    North, Galerie Tatjana Pieters, Gent, Belgique.

2007·    Specchio specchio, Sint-Lukasgalerie, curator Filip Luyckx, Bruxelles, Belgique.

SELECTED SOLO EXHIBITIONS 2009·    Like Lips, Like Lettuce, Buro Leeuwaarden, Fries Museum, Leeuwaarden, Nederland. ·    Breathe out as you rise to the surface of the water, Stichting Luc Peire, Knokke, Belgique.

2008·    North, Galerie Tatjana Pieters, Gent, Belgique.

2007·    Specchio specchio, Sint-Lukasgalerie, curator Filip Luyckx, Bruxelles, Belgique.

SELECTED GROUP EXHIBITIONS 2009·    Artforum Berlin, with Galerie Tatjana Pieters, Berlin, Deutschland. ·    Artes Musicales, Domein Alden Biesen Art Brussels 2009, Tatjana Pieters/OneTwenty Gallery, Bruxelles, Belgique.

2008·    International Triennale of Contemporary Art (ITCA 2008), 'Re-reading the Future', National Gallery, Praha. ·    VideoDictionary', Fundación La Caixa, LLeida, España. ·    Gantz Graf, De Witte Zaal, (duo exhibition with Xavier Mary), Gent, Belgique.

FILM FESTIVALS AND SCREENINGS 2009·    Happy New Ears Festival, Kortrijk, Belgique. ·    Screening (presentation of 6 video works), Be-Part, Waregem, Belgique.

2008·    White Night, Matadero Madrid, Madrid.

2007·    Les Rencontres Paris-Berlin (festival), Circulo de Bellas Artes, Madrid. ·    Kino Babylon, Berlin, Deutschland.

2006·    Cinema L'entrepôt, Paris, France. ·    Image Forum Festival, Tokio, Japan.

AWARDS AND GRANTS 2006·    Honourable Mention at Transmediale.06 Festival, Berlin, Deustchland, with "Insert the Name of the City Here"

09-10sotd2923

Year: 2006

 Alkaline is a sound composition partly based upon the rhetorical clichés of pop music, partly placed into the milieu of ‘contemporary music’. A strong relation to punk attitude could be sensed through the energetic level as well as the D.I.Y (do-it-yourself). Sometimes software and hardware is constructed by myself to maximize the possibilities for manipulation and to research a new sonic milieu. Spatial condition has a big influence to the concept of the work, both in the virtual and illusive domain, as in the environment of the listener.The sounds are produced with custom made virtual generators, home made electronics and effects, toys and field-recordings. 

ABOUT PAUL DEVENS´ SOUNDWORKThe work of Paul Devens (Maastricht, 1965) oscillates in between installation, video, sound, performance and architecture.

"The main focus of my work is generally a questioning of seemingly naturalized conceptions of the reality surrounding us. My attempt is to offer alternative models in opposition to the preconstructed models of understanding originating from commercial interests. In all my work the feeling of uncertainty and surprise provided by the unexpectedness of the situation is always a central element.Relocating and reinterpreting objects from popular culture (see for instance Moped 2) or minimal, almost invisible gestures (see Sunday or Coffee), I try to focus on an everyday reality that surrounds us at all times and that we tend to take for granted. I am especially interested in how this reality is communicated and in the codes contained in the structures through which it is communicated. This same interest is at the basis of my sound art, which can roughly be divided into installations and performances. The performances are live acts or concerts made from computer generated sounds, recordings and improvisations. I base these compositions upon musical figures taken from commercial pop music. By reinventing the sounds and the aesthetics we are used to, my attempt is, once again, to remove them from the symbolical and rhetorical clichés they are normally associated with. Varying in expression from dance to pure noise, my music freely moves from one aesthetical expression to another. The installations are architectonical constructions especially designed for the physical experience of sound (see for example Serials or Stena). Each installation has a specific soundtrack or composition, and the presence of the audience is integrated as part of the work."

07sotc1451, 07sotb1436, 07sose1482

LA CHAPELLE ST. MESMIN, 1955LIVES AND WORKS IN MADRIDWWW.WADEMATTHEWS.INFO/WADE_MATTHEWS/HOME.HTMLWORK IN MADRID ABIERTO: OBRAS

EDUCATION·    Doctor of Musical Arts por la School of the Arts de Columbia University, Nueva York, con estudios de electroacústica en el Columbia-Princeton Electronic Music Center.·    Master of the Arts en composición musical por la City College of New York.·    Bachelor of the Arts en música por Antioch College, con dos años de estudio en el New England Conservatory of Music, de Boston.

CONCERTS·    Relay New York, Museum of Modern Art, Nueva York.·    Lieux, Museo Nacional Centro de Arte Reina Sofía, Madrid, España.·    Festival Camerissima, Centro Nacional de las Artes, México D.F, México.·    Festival Irtijal, Instants Chavirés, París, France.·    Festival Irtijal, Éspace SD, Beirut, Líbano.·    Festival SF/Alt, Acme Observatory, San Francisco, CA. Raumshiff Zitrone, K-77, Berlín, Deutschland. Western Civilization, Londres, UK.·    Festival I & E, Dublín, Irlanda.·    Festival Sonic Scope, Lisboa, Portugal.·    Festival Sal, Cabo Verde. Festival La Alternativa, Círculo de Bellas Artes, Madrid, España.·    Festival Play, La Casa Encendida, Madrid, España.·    Festival Hurta Cordel, La Casa Encendida, Madrid, España.·    Festival Madrid en Danza, Centro de Arte Reina Sofía, Madrid, España.·    Festival Experimentaclub, La Casa Encendida, Madrid, España.·    Seattle Improvised Music Festival, Good Shepard Center, Seattle.·    Festival Internacional de Música Contemporánea de Alicante, Auditorio del CAM, Alicante, España. Festival IN-Sonora, Istituto Europeo di Disegno, Madrid, España.·    Gira Intermedia 28, Liverpool, Manchester, Estocólmo, Dublín, Toulouse, Madrid, Valencia, Gijón, España. Giras E.E.U.U., Seattle, Portland, San Francisco, Berkeley, Oakland, Los Angeles, Chicago, Champaign, Bloomington, Columbus, Youngstown, Detroit, Springfield, Pittsburgh, Baltimore, Philadelphia, Buffalo, Princeton, Nueva York. Giras Argentina/Uruguay, Buenos Aires, La Plata, Posadas, Salta, Resistencia, Mendoza, Córdoba, Colonia, Montevideo.

ACADEMIC RELATED ACTIVITIES·    Cursos universitarios impartidos: Historia del Jazz, Centro de Estudios Norteamericanos, Universidad de Alcalá.·    Cognición y creación; mente corporeizada y procesos cognitivos en la creación artística, Universidad de las Palmas, Islas Canarias.·    Clases magistrales y talleres impartidos: Clase magistral sobre la improvisación musical, Conservatorio Superior Nacional de Música y Danza, París, France.·    Clase magistral sobre la improvisación musical, California Institute of the Arts, California.·    Taller de improvisación musical con medios electroacústicos, Centre for Computacional Musicology and Computer Music, Universidad de Limerick, Irlanda.·    Taller de libre improvisación musical, Universidad de las Américas, Puebla, México.·    Taller de libre improvisación musical, Universidad de la República, Montevideo, Uruguay.·    Taller de música y danza improvisada, CCF du Chouf, Deir el Qamar, Líbano.·    Taller de música y danza improvisada, Estudio Tres, Madrid, España.·    Taller de música improvisada, Conservatorio de Elche, Alicante, España.·    Taller de música improvisada, Asociación IBA, Barcelona, España.·    Conferencias Center for Computer Music, Columbia University, Nueva York.·    University of California, San Diego.·    University of Limerick, Irlanda.·    American University of Beirut, Líbano. Universidad de las Americas, Puebla, México.·    Facultad de Bellas Artes, Universidad Complutense de Madrid.·    Facultad de Ciencias de la Información, Universidad Complutense de Madrid.·    Instituto de Investigación Musical, Universidad Autónoma de Madrid.·    Universidad nacional de Salta, Argentina. Universidad nacional de Córdoba, Argentina.·    Universidad de las Palmas de Gran Canarias. Círculo de Bellas Artes de Madrid.·    Fundación Segundo y Santiago Montes. Universidad Internacional Menéndez y Pelayo.·    Centro de Estudios Internacionales, Fundación Ortega y Gasset.·    Consejo Superior de Investigaciones Científicas.

WRITINGS·    Colectividad e intencionalidad en la "libre improvisación européa"; factores orientativos para un estudio musicológico. en Revista de la Sociedad Española de Musicología.·    Quince segundos para decidirse; La "composición instantánea" y otras ideas recibidas acerca de la improvisación musical en Preliminares, (Nº 10).·    Intimidad y límite, reflexiones sobre el perro de Stockhausen, en La Balsa de la Medusa, (nº 49).·    Hacer música en la Alhambra, (Cat. Exp.) La Alhambra vista por artistas.·    Historia de la música, Deutsche Grammophon, en 50 tomos, de los que Wade Matthews ha escrito 11.·    Invitado a coordinar el número 151 de la Revista de Occidente, La música en nuestros días" al que también contribuye el artículo: I Sing the Body Electric: meditaciones sobre la música en la era electrónica.

09-10sotd2922

LIVES AND WORKS IN OTTAWA, ONTARIO, CANADAHTTP://SARAHBOOTHROYD.COM/HOME.HTMLWORK EXPOSED IN MADRID ABIERTO: PAY NO ATTENTION TO THAT MAN BEHIND THE CURTAIN

EDUCATION ·    Master of Journalism, Carleton University, Ottawa. ·    Bachelor of Arts, McGill University, Montreal.

SELECTED EXHIBITIONS 2009·    Beijing 789 Biennial, Beijing. True/False Film Festival, Missouri. ·    Third Coast Filmless Festival, Virginia and Illinois.

2008·    International Symposium for Electronic Art, Dublin. ·    Art Matters, Montreal. ·    MediaNet Edges Festival, Victoria. ·    EcoFocus Film Festival, Georgia. ·    Third Coast International Audio Festival, Chicago. ·    RadiaLX radio art festival, Portugal. ·    Digital Art Weeks, Suisse. ·    Third Coast Festival Listening Room at The Hideout, Chicago. ·    Concordia University Electroacoustic Studies concert, Montreal. ·    Deconstructing Hip, Toronto. ·    Ladyfest Toronto, Toronto. ·    Yeosu International Art Festival, South Korea. ·    International Features Conference, Bulgaria.

2007·    Radio Without Boundaries Festival, Toronto. ·    Radio Art Salon at Galley 1313, Toronto. ·    True/False Film Festival, Missouri. ·    International Features Conference, Copenhagen. ·    International Association of Women in Radio and Television Conference, Nairobi.

2006·    Radio Without Boundaries Festival, Toronto.

CD RELEASES 2009·    Deep Wireless VI, New Adventures in Sound Art.

2007·    Deep Wireless IV, New Adventures in Sound Art.

2006·    Deep Wireless III, New Adventures in Sound Art.

FILM FESTIVALS AND SCREENINGS 2009·    Dawson City International Short Film Festival, Canada. ·    Board Shorts Film Festival, Queensland. ·    Montenegro Canadian Film Festival, Podgorica, Canada. ·    San Francisco Women's Film Festival. ·    La Bande Video, Quebec City. ·    Scene and Heard, St. John's. ·    Shenkman Arts Centre, Ottawa. ·    Resolution, Ottawa.

2008·    Baltimore Women's Film Festival, Baltimore. ·    Ladyfest Toronto. ·    Continental Drift International Short Film Festival, St. John's. ·    Ladyfest Manchester. ·    National Screen Institute Online Film Festival. ·    St. John's International Women's Film Festival. ·    Silver Wave Film Festival, Fredericton, Canada.

AWARDS AND GRANTS 2009·    Best Short Documentary, San Francisco Women's Film Festival.

2008·    ShortDocs Award, Third Coast International Audio Festival. ·    Christoph Lehmann-Halens Memorial Award, Carleton University. ·    Ake Blomstrom Award, European Broadcasting Union.

2007·    Deep Wireless Residency, New Adventures in Sound Art.

2006·    Ruth Hancock Scholarship, Canadian Association of Broadcasters.

2005·    Kelleher Award, CBC Radio. ·    Mowatt Award, CBC Radio.

09-10sotd2921

BRISBANE, AUSTRALIA,1974LIVES AND WORKS IN LONDONHTTP://WWW.MATTHEWVERDON.COM/WORK EXPOSED IN MADRID ABIERTO: MEMOIRS OF AN AMNESIAC

EDUCATION ·    BA (Practice and Theory of Visual Art), Chelsea College of Art and Design, London.

SELECTED GROUP EXHIBITIONS 2010·    The Pursuit of Happiness, Arsenal Gallery, Poznan, Poland.

2009·    Art/Value/Currency, The Pigeon Wing, London. ·    Spinning Tongues, Vibe Gallery, London.

2008·    Wrapped and Encased, Wolstenholme Projects, Liverpool. ·    Theory and Practice, Gallery Aferro, Newark, USA.

2007·    Punk, Ada Street Gallery, London, UK and Rote Flora, Hamburg, Deutschland. ·    Situation Leeds 07, Round Foundry Media Centre, Leeds.

2006·    Glossolalia, Gallery Aferro, Newark, USA. ·    Creekside Open, APT Gallery, London.

2005·    Terror, Beaconsfield Gallery, London.

FILM FESTIVALS AND SCREENINGS 2006·    Temporary Cities, Cultural Communication Centre of Klaipeda, Lithuania and National Centre of Contemporary Art, Moscow, Russia. ·    Projektor, Café Gallery Projects, London.

09-10sotd2920-i

Year: 2006 / Format: CD Audio Stereo / MURCIÉLAGO’s studio production in Bogotá, Colombia

 Interwoven sonorous images between Madrid and Bogota, between Spain and Columbia: sonorous features of both cities: bells, sirens, voices, murmurs; the Madrid metro and the anachronistic and nostalgic train that crosses Bogota, the Retiro park and the Simón Bolívar park, the markets of El Rastro and El Pasaje La Macarena; urban music, Galician bagpipes played in Madrid and coastal papayera bands on Bogota’s seventh street; the ocean that joins us, the Atlantic Ocean in Cadiz and the plane journey to Europe; the water fountain in Plaza Colon and the Andine downpours and thunder in  Bogota, urban waters and wild waters; cattle bells of sheep crossing Madrid and a  combination of music for voice and régale organ played in the El Retiro’s metro station with Amazonian fauna, leaf hoppers, cicadas, frogs, parrots, spider monkeys and the song of the native birds of Madrid.

Madrid - Bogota is a hybrid sonorous landscape, interwoven and set in the radial scene, freed from its geography and causal events. Acousmatic and radiophonic listening of sonorous cultural images, of common geophonies. This phonographic and radiophonic piece conjures reflections on La Radia of the futurist poet Tomasso Marinetti, as a brief homage to the Drama of Distances.

07sotb1435, 07sotc1449, 07sose1481

HTTP://ANNARAIMONDO.WORDPRESS.COM/WORK EXPOSED IN MADRID ABIERTO: LAVAPIÉS CHIPÉN. MEMORIA SONORA DE UN BARRIO..................................................................................................................................................................................................................................................................

MANUEL CALURANOEDUCATION ·    Ingeniero informático, uclm, Ciudad Real.

ACADEMIC RELATED ACTIVITIES 2009·    Paisaje sonoro. aprender a oir, radio vallekas, Madrid.

2008·    Paisaje sonoro. ·    Aprender a oir, centro hispano colombiano.

AWARDS AND GRANTS 2008·    Círculo de bellas artes, madrid, 1er premio en la convocatoria el aire en.

................................................................................................................................................................................................................................................................. 

ANNA RAIMONDOEDUCATION ·    Licenciada en periodismo, Bologna, Italia.

SELECTED GROUP EXHIBITIONS 2009·    Nits d'aielo i art, Valencia 2008 In-sonora, "en el aire", hablar en arte.

PROJECTS  ·    Programa de radio dedicado a la creacion sonora y a la sensibilizacion a la escucha "sonirico", radio Grenouille, France. ·    Intervenciones en espacios publicos "escuchas indiscretas", Marseille.

BROADCASTED PROJECTS 2009·    Sonirico, radio Grenouille, Marseille. ·    Free lance para ars sonora (Radio clasica, rne). ·    Free lance para el "postre" (Radio tres, rne). ·    Free lance para appartement 22, web radio, Marrueccos. ·    La regla de la musica, radio vallekas y union de radios comunitarias libres (urcm) 2008 Realizacion de cartas sonoras para la residencia artistica soundres con Terry riley y bang on a can all stars, difundida por radio popolare network, Puglia, Italia. ·    Hablar en arte, radio círculo, Madrid.

CURATORIAL PROJECTS 2009·    Programa de residencia soundres-insonora. Jurado para la convatoria "hablar en arte 2009", radio círculo, Madrid. 2002·    Festival de jazz contemporaneo "vertigo", Caserta, Italia.

ACADEMIC RELATED ACTIVITIES 2009·    Paisaje sonoro. ·    Aprender a oir, radio vallekas, Madrid. ·    Como escribir para las orejas, taller de radio experimental; cinemateca de Tanger, Marrueccos. 2008·    Paisaje sonoro. aprender a oir, centro hispano colombiano. ·    Escribir para la radio, radio vallekas, Madrid. 2007·    Giornalismo musicale, radio città fujiko, Bologna, Italia.

AWARDS AND GRANTS 2008·    Círculo de Bellas Artes, Madrid, 1er premio en la convocatoria en el aire.

09-10sotd2918

CREDITS AND TECHNICAL DATASoundwork by: DAVID W. HALSELLTitle: FunkenspielFormat: stereoLength: 3:57, 3:41, 2:02 min Year: 1995

SOUNDWORK

DESCRIPTIONFunkenspiel is a noise/music composition consisting entirely of recordings of shortwave radio, spacecraft transmissions, and atmospheric phenomena. At times both ethereal and unsettling, Funkenspiel includes repetitive rhythms, bursts of noise, and undulating radio static. A prominent feature in the source material is the use of “number stations”– repetitious coded vocal messages of unidentified origin, transmitted via shortwave bands (see the Conet Project at http://www.irdial.com/conet.htm) These broadcasts are supposed covert transmissions by various state intelligence agencies to field operatives.

Natural and man-made radio waves envelope us constantly, generating variable definitions and meaning of what is signal and what is noise. Funkenspiel thematically considers the politics of control in information transmission, the interplay and significance of noise in a sonic environment, and the metaphorical implications of the body/voice being awash in a constant flow of encoded information in radio signals.

The title of the work is a variation on “funkspiel” (radio-play), a technique used in WWII by both German and Russian forces in which foreign agents and transmitters were manipulated into treasonous activities; “funkenspiel” can be translated literally as transmitter-play or spark-play.

07sotb1431, 07sotc1441, 07sose1475

ZARAGOZA, 1974LIVES AND WORKS IN MADRIDHTTPS://MYSPACE.COM/JAVIERDIEZENAWORK EXPOSED IN MADRID ABIERTO: BELLABELLS

EDUCATION 1997·    Facultad de Ciencias de la Información de la Universidad Complutense de Madrid. ·    Licenciado en Periodismo.

PERFORMANCES 2009·    South By Southwest, Austin /Texas.

2008·    CMJ Festival, New York. Popkomm, Berlin. ·    Vitoria Jazz Festival, Vitoria-Gasteiz. ·    Zemos 98. 2007 y 2008 Noche en Blanco de Madrid.

2007·    Manchester Jazz Festival.

2003–2007·    Experimentaclub.

2006·    Festival Internacional de Benicássim, Castellón.

2003–2006·    Primavera Sound, Barcelona.

2005·    Festival de Otoño en el Teatro del Circulo de Bellas Artes.

2002–2005·    Festival de Jazz de Madrid.

2003·    Ibiza Jazz Festival. ·    Getxo Jazz Festival. ·    Teatro Jovellanos. ·    Festival de Cine de Gijón.

WORKS FOR THEATER 2009–2010·    Drácula, Centro Dramático Nacional (Efectos sonoros, theremin y colaboración en el espacio sonoro) Estreno: Teatro Valle Inclán, 3 de diciembre de 2009, Madrid.

2007–2009·    Nanas para despertarse, Compañía Malucos Danza (Theremin, espacio sonoro y músico de escena como thereminista y contrabajista ) Estreno: Sala Triángulo, 21 de diciembre de 2007, Madrid.

FILM PROJECTS ·    Como miembro del grupo musical Dead Capo es coautor de la música utlizada en las películas: Interior noche y Malas Noticias, ambas con dirección de Miguel Ángel Cárcano. Como músico (contrabajista) ha participado en la grabación de las bandas sonoras de las películas Una palabra tuya, dirigida por Ángeles González Sinde y After, dirigida por Alberto Rodríguez, ambos scores compuestos por Julio de la Rosa.

BROADCASTED PROJECTS ·    Colaborador habitual del programa Carne Cruda (Radio 3) , actualmente en antena, creador de la sección semanal Amanitas y cardos / (Radio 3 - Radio Nacional de España).

ACADEMIC RELATED ACTIVITIES 2009·    Actividades pedagógicas sobre el theremin, Teatro Jacinto Benavente de Galapagar, Madrid.

2008·    Actividades pedagógicas sobre el theremin, Encuentros Klabbing de Pamplona.

2007·    Intervención y ponencia sobre el theremin en Medialab, Centro Cultural Conde Duque, Madrid. Coordinador de Medios de la Compañía Nacional de Teatro Clásico (INAEM)

WRITINGS 1998–2009·    Colaborador fijo de la revista Vanidad, ha publicado decenas de entrevistas y artículos siempre centrados en la música.

2004·    Revista Rockedelux,: Manifesto Moncloa Sound System.

AWARDS AND GRANTS 2009·    Fundación Canal, Premio Audiciones (sección música electrónica). 2007·    Como parte de la banda de Aaron Thomas: Premio Villa de Bilbao. 2003·    Como parte de Dead Capo: premios Injuve de jazz.

09-10sotd2917-i

Accompanying voices: Amaury Pacheco and David Escalona

Sonorous poem dedicated to Clara Gari, multidisciplinary artist and scholar of contemporary visual and sonorous art, established in Barcelona.

According to the different critics, it is a poem that falls within the tradition of Spanish, South American and Cuban Experimental Sonorous Poetry. It also merges the vocal interpretation of jazz with Cuban percussion and other rhythms. Beyond this, it is a poem that has been warmly accepted both inside and outside the circle of experts. It holds an international language and has been interpreted on stages with up to 3.000 spectators of different languages, always with much interaction from the public.

Jazz Poem is part of the experimental poetic-sonorous CD Alamar Express created by OMNI-ZONAFRANCA, of the Alamar City, Cuba and, financed by the Spanish Agency for International Co-operation.

Poema jazz (transcription)

Clara tacapuru tucuturu tacapazClara tacapuru tucuturu tacapazClaratacapurutucuturutacapaz                                           Claratacapuru-tucuturutacapazClaratacupuru-tu-cu-tu-ru-tacapazClaratacapurutucuturutacapazTacatatapusTacatatapusTaca ta ta pusTa ca ta ta pus pus pusssPuspurutucuturu         puspurutucuturuClaratacapus      claracatapusClaracatapus      claratacapus  pus  pus  pusPús/purutucuturu         pús/pusrutucutúPúspuru  púspuru   púspuru-tucuturuPuspurutucuturuPúspuru/tucuturuPúspuru/tucuturuPúspuru/tucuturu-tacapazPúspuru/tucuturu-tacapazTacapaz     catapazCatapaz      tacapaz-tacapuru                   Tacapaz-tacapuru                   Tacapaz-tacapuru                   Tacapaz-tacapuru                    Tacapaz-tacapuru-tacapazzzzzzz                    tacapurutacapaz                     taca-ta-ta-pus                    táca/tatátacapaz   tacapaz   tacapaz-tacapurutacapuru  tucuturu  tacapazta ca pu ru tu cu tu ru ta ca pazta ca pu rutucurutacapaztacapurutucuturutacapaz

clara tacapuru        clara tucaparuclara tacapuru        clara tucaparuclara tacapuru         tucuturutacapaz                                              tucuturutacapaz                                                            tucuturutacapaz

¡Clara!

07sotb1434, 07sotc1446, 07sose1480

Format: 2-channel binaural audio

A sound work made in the city-spaces of Melbourne, Australia. We follow a series of Africans who are now living in Melbourne, inhabiting their listening perspectives as they sing and move about the city. Our starting point is Elizabeth Street, a major transport node.

Reiterations was commissioned as part of +Plus Factors, a series of exhibitions curated by Australian Centre for Contemporary Art for the Melbourne 2006 Commonwealth Games.

Reiterations are things that are said or done again - but not always in the same way, in the same place. A reiteration can be a repetition with difference.

Voices: Mmapelo Malatji (Botswana), Habib Chanzi (Tanzania), Zweli Tlhabane (Swaziland), Carlos Panguana (Mozambique), Francess Kalon (Sierra Leone), Valanga Khoza (South Africa), Prisca Cradick (Kenya)

The following is an extract from Juliana Engberg, Artistic Director, ACCA.

'My chicken is missing', essay for the +Plus Factors exhibition catalogue, Australian Centre for Contemporary Art, 2006 (www.accaonline.org.au/plusfactors)

'Certain sounds are unique to places. However, world cities have increasingly become a medley of sounds. A sort of acoustic mélange of everywhere and nowhere: the ambient equivalent of Marc Agué’s non-places. The same hip-hop songs hurl themselves out at you from the same chain stores, whether you are in London or LA, Changi or Moscow. The same bing-bongs announce security alerts, hot specials and transit information...

Sonia Leber and David Chesworth use this urban polyphony of sounds as a membrane through which the singular sound of the embodied voice must push and pass its way; as a kind of landscape of the generic, surrounding the story of the specific.

Leber and Chesworth’s Reiterations (Elizabeth Street) is a sampled, then produced sound-space of recorded sounds that are unmistakably urban and general: loud speakers, train horns, guitar riffs, squeaky sounds, walking, hubbub, chatter (school girls, shop keepers…), voices, car horns, throaty motorbikes...

Leber and Chesworth’s sounds are grabbed from the urban bustle of Elizabeth Street, Melbourne, a typical ‘transit’ zone of the city, with its convenience stores and Chem-marts, take-outs and mobile outlets, luggage shops and bookstores, sports retailers, pubs and hair salons. Elizabeth Street is a place of particular intersection for inter-urban travellers who use the Western, and North Western tram lines that stretch out to, and bring people in from, the suburbs of Maribyrnong, Essendon, Coburg, and Airport West. Places which, over the past few years have become the cluster suburbs for immigrants, mostly refugees, from the African countries of Zambia, Nigeria, Botswana, Tanzania, Swaziland, Mozambique, Kenya, South Africa and Sierra Leone.

Into this hub of urban noise Leber and Chesworth have sent their individual travellers to walk and sing their way through the city. Songs that once described the pulverising of corn, or the happy return of mothers from the field, or the disappearance of a chicken from the village; lullabies, love songs and laments; songs of marriage and loss enter into the urban village of Melbourne through the power of voice and breath made round and cogent in the drum of the body.

Unlike the city’s urban sounds with their artificial veneer, these African voices seem authentic and exuberant – resonant and strong. The rhythm of the voice is matched to the tempo of the walking along the street, which makes the respiration of the singer seem percussive and urgent. This sense of urgency perhaps represents the larger struggle that accompanies the condition of those caught up in the diaspora, and the reserve of strength it takes to enter a new place and space while keeping a cultural memory and life intact...

These are grounded, earthy voices with feet and legs, and arms and bodies, and chests with air pumping. These are private voices made public. For most people music is generally internalised, either in their memory repertoire, or from their iPods, to assist them to individuate amidst the generalised, conglomerated experience of life in the fast lane.'

07sotb1437, 07sitc1452, 07sose1484

MORELIA MICHOACÁN, MÉXICO, 1972.LIVES AND WORKS IN CIUDAD DE MÉXICOWWW.HERNANIVILLASENOR.COMWORK EXPOSED IN MADRID ABIERTO: DIARIO SONORO

EDUCATION2007·    Programa de fortalecimiento para jóvenes compositores, CMMAS, Morelia, México.

2002·    Programa de estudios en fotografía, Fábrica de Imágenes, Morelia, México.

2000

·    Audio Engineering Diploma, School of Audio Engineering, Milán, Italia.

1996·    Percusiones, Escuela Nacional de Música, Ciudad de México.

SELECTED SOLO EXHIBITIONS2007·    Somos un gran sistema de sonido, instalación sonora, Casa de la Cultura de Morelia, Morelia, México.

·    4@Q Ciclo de audiciones en cuadrifonía, Universidad de Quilmes, Buenos Aires, Argentina.

2008·    IV Jornadas Argentinas de Música Contemporánea, Universidad Nacional de Córdoba, Córdoba, Argentina.·    Música Viva 2008, Sound Walk, Centro Cultural de Belém, Lisboa, Portugal.

2005·    Fotoseptiembre 2005, Fábrica de Imágenes, Morelia, México.

2004·    Colonización, Things we did and didn't do, Art Tank Gallery & Queen Street Studios, Belfast, Irlanda del Norte.·    Colonización, Things we did and didn't do, Fábrica de Imágenes, Morelia, México.

PERFORMANCES2009·    Ensalada Inestable II, Centro Cultural España, Ciudad de México.·    Prácticas de Vuelo, Ex Teresa Arte Actual, Ciudad de México.

2008·    IV Festival Internacional de Música Contemporánea de Michoacán, CMMAS, Morelia, México.

2006·    III Festival Internacional de Arte Electrónico 404, C.C. Parque de España, Rosario, Argentina.

BROADCASTED PROJECTS2008·    Sueños, altar sonoro, Radio Educación México.·    Campanas de Independencia, pieza sonora, Radio Educación México.

2007·    Intervención sonora al mural de Diego Rivera Sueño de una tarde dominical en la Alameda Central, Radio Educación México.·    Papalotzin, altar sonoro, Radio Educación México.

ACADEMIC RELATED ACTIVITIES2007·    Conferencia Somos un gran sistema de sonido, CMMAS, Morelia, México.

2004·    Taller Producción de música electrónica, Centro de Arte y Nuevas Tecnologías, San Luis Potosí, México.

1989–1994·    Percusiones, Conservatorio de las Rosas, Morelia México.

AWARDS AND GRANTS2007·    Programa de Coinversiones para la Producción Artística de Michoacán para Construcciones, CD de música Acusmática.

2005·    Programa de Estímulo a la Creación y Desarrollo Artístico de Michoacán, Jóvenes Creadores para la inatalación sonora Somos un Gran sistema de Sonido.

09-10sotd2916

YEAR: 2007

 Reflexión Estética is a joint project between the hip hop artist Dano and the plastic artist Avelino Sala. It is a reflection on the world of contemporary art in the shape of a hip hop song – an association of two realities that coexist in the city-. The discourse is based on certain truths about the art establishment. The lyrics were written by both artists and Dano subsequently added the music. The structure of the song follows a classic hip hop theme. The lyrics are: Reflexión Estética¿Qué es el arte? ¿Alma e inspiración fluyendo por un río……en el jardín de un rico que parte y reparte?¿Y para el artista “(h)el-arte” es morirse de frío……y a veces de hambre?Pero espera, ¿qué es “artista”? ¿Lo sabes? Por supuesto…Cualquiera crea un “-ismo” de sí mismo y ya te ha expuesto,y se esconde tras su puesto para obviar lo pre-supuesto,dime qué queda de tu arte si le quito el presupuesto…Nada… No dispara tu Minolta,concepto negativo, sin luz, “gris” como Travolta…A la cola como miles de patéticos serviles,de esos mercenarios viles seudo-artistas son escoltas…Su alma por un precio módico;“revelación” por felación a crítico en periódico,y dime ¿duermes tranquilo? ¿Es puro el aire que respiras?Si eres reo de un museo que comercia con mentiras…

“Menos es más”, lo dijo Van Der Rohey no vemos la paz, el oro les corroey yo vengo de atrás a mantener la guardia;ricos neo-rebeldes no equivalen a vanguardias…Citas innecesarias, aluden a lo sacropara hacer de la nada un macro, es un simulacrode un mundo en tonos ocres: ¿”político de turnoe intelectual mediocre”? No me trago ese teatro…Fotos, fiestas y cócteles, ¿y tú crees que el importe lesimporta lo más mínimo si mínimo caen dos de tres?Vamos, haz las cuentas, socio,y dime si montar una bienal no es un negocio…Vampiros del sentido, actúan en sinestesia;al bolsillo por el ojo solo con “arte-anestesia”y la galería es su iglesia... Preguntas ¿por qué siguen?Si las putas que ahí exponen lloran, tragan y sonríen…

Dano… Avelino Sala… ¿Esto es Arte o no es Arte?

08sotb2069, 08sotc2081, 08sose2129

HANNOVER, GERMANY, 1970LIVES AND WORKS IN BERLIN AND PARISWWW.GLORIA-ZEIN.COMWORK EXPOSED IN MADRID ABIERTO: MADRID BREATHING

SELECTED SOLO EXHIBITIONS 2008·    Philosophers' beds/bedding philosophers, Iranian Artists' Forum, Tehran, Iran.

2007·    philosophenbetten, Galerie Rossella Junck, Berlin.

2004·    Vorspiel(e), Factor 44, Antwerpen, Belgique.

2003·    Vorspiel(e), Goethe Institute Paris. ·    Vorspiel(e), Deutsch-französisches Kulturinstitut, Aachen, Deutschland.

2002·    Vorspiel(e), Syrius Kunstraum, Düsseldorf, Deutschland.

SELECTED GROUP EXHIBITIONS 2009·    A book about death, Emily Harvey Foundation, New York City. ·    Trendwände, Kunstraum Düsseldorf, Deutschland. ·    Incantato, Galerie Rossella Junck, Berlin.

2008·    Glück Gehabt - Art goes Underground, NGBK Berlin. ·    3xF: Fußball, Frauen, Fotografie, Heinrich-Böll-Stiftung, Rostock, Deutschland.

2007·    Copycats, Künstlerhaus Dortmund, Deutschland.

2006·    SEXWORK Art Mythos Reality, NGBK Berlin. ·    3xF: Fußball, Frauen, Fotografie, Frauenmuseum Wiesbaden, Deutschland. ·    3xF: Fußball, Frauen, Fotografie, ARD-Hauptstadtstudio Berlin. ·    Confinement and the art of decoration, Artspace New Haven.

2005·    Paris-LA, Cache Contemporary Gallery, Los Angeles. ·    Blue Hall - Marktplatz Europa, Kunsthalle Arnstadt, Deutschland.

2004·    Die Loreley. Ein Fels im Rhein. Ein deutscher Traum, Mittelrhei Museum Koblenz, Deutschland.

2003·    Blue Hall - Marktplatz Europa, Atelierhaus Panzerhalle, Potsdam, Deutschland.

2002·    Free Manifesta, Frankurt a.M, Deutschland.

PERFORMANCES 2004·    The Thomas Greb Project: Personal belongings, Designmai Berlin.

STAGE DESIGN 1997·    Der eingebildete Kranke (Molière), Director: Anja Topf, Festspiele / Festival Bad Hersfeld, Deutschland.

·    The Breathing Project, since 2001 new haven breathing, ultra radio, 16.03.2006 antwerp breathing, radiocentraal Antwerp, 23.04.2004 washington breathing, art@radio Washington DC, 04.12.2002 ny breathing, WKCR radio station, NY, 13.09.2002 frankfurt breathing, Free Manifesta Frankfurt, Juli/August 2002

ACADEMIC RELATED ACTIVITIES 2005–2009·    Technical University Braunschweig (D), Institute of Fine Art : Lecturer (Lehrauftrag) 2008 parkingallery, Tehran (Iran): Lecture: Can art question philosophy? 2006 Educational Center for the Arts - ECA, New Haven (USA): Workshop: (self-)portrait.

WRITINGS ·    Articles about art and photography 2009 Die Kunst der anderen, Die Tageszeitung (taz) Berlin, October 12 2009, p. 16 2007 Die heilige Familie von Ikea, taz Berlin, December 5 2007, p. 25 2006 Die Ausdehnung der Tatnacht, taz Berlin, October 7 2006, p. 29 Doppelagenten der Erinnerung, taz Berlin, September 30 2006, p. 27 Kampf um den Helena-Pokal, taz Berlin, June 7 2006, p. 18 2005 Gedanken wie Grippeviren taz Berlin, October 6 2005, p. 16 Alle Ampeln stehen auf Gelb, taz Berlin, September 19 2005, p. 16 Sex ist etwas Komisches, taz Berlin, August 19 2005, p. 16 Auf den Nagel getroffen, taz Berlin, March 14 2005, p. 16 Helden des Augenblicks, taz Berlin, January 25 2005, p. 15 2004 An anthology of art, www.art-the-magazine, NZ, December 2004 2001 Documentation as artistic practice, www.art-the-magazine, NZ, August 2001 Quelle est-le rôle de l'artiste aujourd'hui? Tokyobook2, Palais de Tokyo, Paris (F), November 2001 FORMACIÓN ACADÉMICA/ EDUCATION 2001 International Summer Academy of Fine Arts, Salzburg (Austria): class of Ilya Kabakov 1998 Master of Architecture, Technical University of Vienna, Austria. 1989-1998 studied Philosophy and Architecture in Darmstadt (D), Vienna (A) and Paris, France.

AWARDS AND GRANTS 2008·    Artist in residence at the Emiliy Harvey Foundation, Venice 2004 Szpilman Award - Best Seven 199596 Erasmus Grant for Paris, Ecole d'Architecture Paris La Villette

WORKS IN MUSEUMS AND COLLECTIONS ·    Mittelrheinmuseum, Koblenz, Deutschland.

BIBLIOGRAPHY 2008·    Alice Bombardier: Quand Art + Philosophie = Un lit" La Revue de Téhéran, June 2008, p. 62-67 Glück gehabt. ·    Kunst im Untergrund, NGBK Berlin (D), 2008 (Cat. Exp) 2007 Michael Nungesser: Sexwork. ·    Kunst Mythos Realität Kunstforum Band 184, 2007, p. 291 - 293 SexWork - Art Mythos Reality, Kehrer Verlag Heidelberg (D), 2007 (Cat. Exp) ·    Iris von der Tann and Heide Weissenberger Künstlerateliers Berlin Ed. Werkstück, Berlin (D), 2007 (Cat.) ·    Matthew Rose: Made in Berlin Art and Antiques, Malibu, CA (USA), Oct. 2007, p. 166 Andrea Edlinger: Kunstrundgang taz, Berlin, 27.06.2007 ·    Katrin Bettina Müller:Liegen Lernen - Philosophen Betten von Gloria Zein in der Galerie Rossella Junck sind etwas für ausgeschlafene Personen Tip Berlin nr. 13/2007, S. 65 ·    Nadine Albach: Von Nachahmungstätern und Achill, der sich selbst einwechselt Westfälische Rundschau (D), 16.02.07 2006 ·    Ebon Fisher: Between Plumage and Plunder Artspace New Haven (USA), 2006 (Cat. Exp) ·    Factor 44 - Les jours fixes 1996 - 2006, Antwerpen (B), 2006 (Cat. Exp) ·    Daniel Kalt: Fußball, elfmal anders Berlin Art Info 53 (2006), p. 21 ·    Brigitte Werneburg: Zwölf Freunde müsst ihr sein taz Berlin, June 13, 2006 ·    Judy Birke: Nothing confined about Artspace exhibit New Haven Register, February 26, 2006 2005 ·    Brigitte Werneburg.: Ein Tunnel quer durch die Erde taz Berlin, March 25, 2005 2004 ·    Die Loreley. Ein Fels im Rhein. Ein deutscher Traum. Verlag Philipp von Zabern, Mainz (D), 2004 (Cat. Exp) 2003 ·    Gabor Baksay: Ceci n'est pas Gloria Zein MOVIE, Aachen, February 2003, p. 43 2002Matthew Rose: Foreplay: Gloria Zein NY ARTS MAGAZINE, June 2002, p. 73 2000 Happy Birthday Johannes. ·    Kehrer Verlag Heidelberg (D), 2000 (Cat. Exp)

09-10sotd2915

FORMAT: AIFFYEAR: 2007

 Using the city as the generation source of noises, I use contact microphones to record and document different sonorous surfaces and objects in the city. The sounds presented are recordings of different, ordinary urban objects – water fountains, pipes, sand, water and glass windows – where specific frequencies have been eliminated or intensified, emphasising those that would otherwise be hardly detectable.

This work offers the listener a different experience of the city and its everyday noises, as an auditory chaotic space, creating sounds that generate a space for greater contemplation.

08sotb2070, 08sotc2083, 08sose2130

HILVERSUM, NEDERLAND, 1957LIVES AND WORKS IN: NETHERLANDWWW.ANNEMARIESTEINVOORT.NLWORK EXPOSED IN MADRID ABIERTO: IMMATEREALITY – SOUNDSCAPE

EDUCATION 2004·    School for Audio Engineering Amsterdam, Electronic Music Production.

2001·    Centre for the Arts Utrecht, Logic Audio.

1999·    Centre for the Arts Utrecht, Multimedia Production 1998 Centre for Electronic Music Amsterdam, ProTools Audio.

1987·    Art Academy Utrecht, Graphic Design and Photography.

BIBLIOGRAPHY ·    Vis Elaine, Steinvoort Annemarie, Sound Art- art works from the essence , 9/2008, Utrecht Cat. Exp. ‘Matchmaking at Suzhou Creek' Easlink Gallery, 10/2004

SELECTED GROUP EXHIBITIONS 2009·    File/Hipersonica, sound installation, Sao Paulo. ·    SoundLAB 6, sound installation, Köln.

2008·    Slem Opdrift, poetry, Terschelling. Gallery Artonova, sound installation, Brugge. ·    Concerthall, sound installation, Gent, Belgique.

2007·    Living Concert, vocal improvisation, Utrecht, Nederland. ·    Levka Ori Artist Encounter, literature, Paleochora, Grecia. ·    Soundwaves Festival, sound installation, Brighton.

2006·    Museum of Modern Art, sound installation, Arles, France. ·    Babel, sound installation, Utrecht, Nederland.

2005·    Phonurgia Nova 2005, sound installation, Arles, France. ·    ICMC 2005, sound installation, Barcelona. ·    Avecom Festival, sound installation, Arnhem, Nederland. ·    Artist's Biennale, sound installation, Hong Kong.

2004·    Eastlink Gallery, sound installations, Shanghai. ·    Painting and Sound, sound installation, Appingedam, Nederland.

2003·    Dutch Music Days, sound installations, Utrecht, Nederland. ·    Image and Sound, sound installation, Utrecht, Nederland. ·    Labyrinth of Possibilities, art experience project, Utrecht, Nederland.

2002·    Sense it!, audiofilm project, Utrecht, Nederland. ·    Boulevard ‘d Unica, interactive installation, Utrecht, Nederland.

2001·    Sophie's Winterpalace, sound installation, Utrecht, Nederland.

2000·    Boulevard ‘d Unica, photography installation, Utrecht, Nederland.

1999·    Art Circulation, sound installation, Nieuwegein, Nederland.

1998·    The Saloon, video sound installation, Utrecht, Nederland. ·    Aa Art 2, interactive installation, Groningen, Nederland. ·    Sensus, video sound installation, Utrecht, Nederland.

1997·    At the Receiving, interactive installation, Utrecht, Nederland. ·    ArtBall, audio composition, Utrecht, Nederland.

1996·    Greetings from Holland, poetry, Utrecht, Nederland.

1995·    S.P.I.D.L.S.P, poetry installation, Utrecht, Nederland. ·    Gallery de Brieder, photography & sound, Rotterdam, Nederland. ·    The Room Project, photography, Utrecht, Nederland. ·    A Matter of Memory, poetry installation, Utrecht, Nederland. ·    From Mouth to Mouth, photography installation, Utrecht, Nederland. ·    Boulevard d'Unica, organic objects, Utrecht, Nederland.

1994·    Sophie's Palace, presentation poetry bundle, Utrecht, Nederland. ·    Broese Kemink Books, poetry installation, Utrecht, Nederland.

PERFORMANCES 2008·    Bimhuis, vocal improvisation, Amsterdam, Nederland. ·    Gallery Artonova, live recitation, Brugge, Belgique. ·    Concerthall, live recitation, Gent, Belgique.

2007·    Living Concert, vocal improvisation, Utrecht, Nederland. ·    SJU Jazzpodium, vocal improvisation, Utrecht, Nederland.

2003·    Labyrinth of Possibilities, art experience project, Utrecht, Nederland.

1998·    Art Circulation, audio poetry performance, Nieuwegein, Nederland.

1997·    University Museum, performance, Utrecht, Nederland.

1996·    Int. Memorial Exchange, performance, Utrecht, Nederland. ·    For Example the Queen, performance, Amsterdam.

1994·    Expo Hall, audio poetry performance, Hilversum, Nederland. ·    I.I.A.V, audio poetry performance, Amsterdam.

PROJECTS 2004–2007·    Member planteam of FollyDock, International Folly Design Contest Rotterdam.

2003·    Initiator and Project-Director of art experiece project Labyrinth of Possibilities. Initiator, Producer and Music-Director audio productions Intrinsic Industries. Initator and Music-Director Sense it! AudioFilms.

2000·    Photography, International Sculptor Symposium 2000, Changchun, China. ·    1999 Initiator and Creative Director Magie Design, www.magie.nu.

1995–2000·    Member of exhibition committee De Galerij, space for dialogue exhibitions.

1994·    Member of the board of directors of Foundation Sophie's Palace, an artist-led initiative, wich stimulates interaction between artists among themselves and between artists and their audience.

BROADCASTED PROJECTS 2009·    File/Hipersonica, online broadcast, Sao Paulo. NPS6, radio broadcast, Hilversum, Nederland.

2007·    Meer TV, radio broadcast, Utrecht, Nederland.

2004·    Soundscape after 2000, radio broadcast, Hilversum, Nederland. ·    Soundscape after 2000, radio broadcast, Hilversum, Nederland.

WRITING 2008·    Sound Art- art works from the essence, Utrecht, Nederland.

09-10sotd2914

FORMAT: MONO LENGTH: 7:25 MIN

 Exploring the myth of the Goddess Durga and the festival of Durga Puja, the most important Hindu festival for Bengalis, the 16 offerings are made makes use of the structure of the myth as recorded in the Hindu scriptures and the Hindu puja (prayer) ceremony to explore the nature of my heritage as a Bengali Canadian.

This piece was created while artist in residence at Toronto's Deep Wireless Festival of Radio Art (http://naisa.ca).  It was co-commissioned by and premiered on CBC Radio's documentary radio program Outfront (http://cbc.ca/outfront) and produced by Laurence Stevenson.  The artist would like to thank these institutions and individuals for making the creation of this piece possible.

08sotc2085, 08sotb2071, 08soe2131

YUNLIN, TAIWAN, 1971 LIVES AND WORKS IN NEW YORK WWW.W-H-K.NETWORK EXPOSED IN MADRID ABIERTO: THE BROKEN ORCHESTRA

EDUCATION2001 ·    Master of Arts, Media Studies, The New School University, New York, USA1994 ·    Bachelor of Arts, Political Science. National Taiwan University, Taipei, Taiwan

PROJECTS & EXHIBITIONS2008·    Sound installation, Taiwanese opera Phoenix Pavilion composed by Kuo Chih-Yuan and directed by Keng Yi-Wei·    A-Ma’s Tape Recorder, sound project commissioned by Taipei’s Women Rescue Foundation, Taiwan·    Sound installation, Roaring Park, Freebird Bookstore, Brooklyn, New York, USA

2007·    Sun Day Project, Sound installation in collaboration with Jungsung Kim, Sumi Jang and So Young Yang, Berlin, Germany·    Pleasure Garden, La Noche en Blanco, Madrid, Spain·    The Broken Orchestra, Volume, The 3rd Ward, New York; Art Is Not Mute, Stockholm, Sweden·    On Air, Institute of Contemporary Art- Dunaújváros, Hungary. Commissioned sound installation for Qi Min Organic Restaurant, Taipei, Taiwan·    Commissioned sound installation for Qi Min Organic Restaurant, Shanghai, China

2006·    Duet in the Courtyard, 2006 Taipei Biennial: Dirty Yoga curated by Dan Cameron and Jun-jieh Wang, Taipei, Taiwan·    Symphony, VIII Salon International De Arte Digital, Havana, Cuba, Dusk, DiVA Miami Beach, Miami·    Elevator Music, the:artist:networknew york, New York, USA·    Feedback: Classroom I, Columbia University, New York, USA

2005·    Water Meditation. Sound installation. Collaboration with Yuko Umezu and Mayumi Fujita, International Triennial of Contemporary Art Yokohama 2005, Yokohama, Japan·    Listening with Dumplings. Art in Odd Places, HOWL! Festival, New York, USA·    Built to Spill, WBAI, New York, USA

2004·    Correspondence. Audio visual. Collaboration with Kristin Worrall, Parakeet Film Salon 2005, New York, USA·    Sound design, 16mm film H.T.C. by Tung Wang Wu, Cinematexas 9, Austin, EEUU

08sotd2116

 FORMAT: STEREO

 This piece is based on the situation of immigrants: how they feel when they arrive in a new country, their positive and/or negative experiences, their concerns, etc. There are references to emblematic places in Madrid where people of different nationalities coexist. The sound envelops different voices that appear and disappear, creating an atmosphere that reflects the rarefied atmosphere of cities, very often, mysterious and incomprehensible.

08sotb2072, 08sotc2087, 08sose2132

MADRID, 1964 LIVES AND WORKS IN: OVIEDO, ESPAÑAWWW.MIGUELGIL.COM.ESWORK EXPOSED IN MADRID ABIERTO: ELECTROSCHOTIS

EDUCATION2001 ·    Proven research experience Universidad Autónoma, Madrid·    Research work “The notation of Flamenco singing (applications of contemporary writing in its transcription)”

1999 ·    Doctorate courses. Universidad Autónoma, Madrid. Professors: E. Fubini. B. Lolo, E. Pujals, C. Colombatti, Martínez Veiga, A. Vicent, González Valle, García Llovera, Linaza Iglesias

1998 ·    Ministry of Education and Culture.  Bachelor’s degree in Harmony, Counterpoint and Instrumentation.·    Contemporary Music Dissemination Centre (CDMC). “Influence of Technology on Composition”. Professor: Luca Francesconi

1997 ·    Contemporary Music Dissemination Centre (CDMC). “Introduction to the Computer Tools of the CDMC”. Professor: Adolfo Núñez·    Contemporary Music Dissemination Centre (CDMC). “Musical Developments in Signal Analysis, Synthesis and Processing”. Professor: Emiliano del Cerro·    Conservatorium van Amsterdam “Electroacoustics music workshop”. Professor: Joss Zwaanenburg

1996-1997 ·    Conservatorium van Amsterdam. Post-graduate studies (two-year programme) on the following areas with maximum grade: Composition (Theo Loevendie and Daan Manneke)·    Theory of Classical Music of South India (Rafael Reina)·    International Contemporary Music Festival of Alicante. “Composition Course”. Professor: Tristan Murail·    Conservatorium van Amsterdam “Composition Seminar”. Professor: James Wood

1993 ·    Graduate of composition with Summa Cum Laude. Berklee College of Music (Boston, USA)·    Berklee College of Music “Composition Seminar”. Professor: Henke Alkema

1986 ·    Universidad Complutense, Madrid). Biology studies (4 years)

AWARDS AND GRANTS2007 ·    Villa de Madrid music prize for the project “De ida y vuelta”. City Council of Madrid

1997 ·    Research grant from the Regional Government of Andalusia

1996 ·    Grant for professional education abroad. Ministry of Education and Culture

1994 ·    Rome prize (full year). Ministry of Foreign Affairs

1993 ·    Honorary mention·    Composition competition for wind ensemble. Berklee College of Music·    Richard Levy Professional Writing Division Prize, Berklee College of Music·    Education grant for studying abroad. AIE (Association of interpreters and performers)

1992 ·    Education grant Berklee College of Music

1990 ·    Education grant for studying abroad AIE (Association of interpreters and performers)

PROFESSIONAL EXPERIENCE2007·    Mariano Marín/Meridional Theatre and others. Production and arrangements collaborations in the sound tracks of the theatre plays “Cantando bajo las·    balas” and “Mentiras, incienso y mirra” and the feature film “Mi amigo Jesús”·    Cast/ David Lind. Voice arrangements and brass arrangements, respectively in both CDs·    Juanjo Guillem. Next publication of the work “Agua Transfigurada” in the CD “Los Elementos”

2006·    DSR productions. Composition of the music for the short film “Atado” winner of awards in Acerbajan, Ciudat del Valls and San Agustin de Guadalix.·    “De ida y vuelta” Poliamyda Records. Production, composition and interpretation of the CD “Patricia” from the music project “De ida y vuelta”. Villa de Madrid 2008 Prize.

2005·    Various musical productions for the theatre play “Pequeños Crímenes Conyugales” and mixes for different sound tracks.·    Laura Torrado Music for the documentary “Otros hogares, otras realidades” and collaboration in the art videos “Ronhaldinha” and “Thriller”.·    “Signos de Aire” Poliamyda Records·    Production, composition and interpretation of the CD “Signos de aire”

2004·    Teatro Español. Production of the children’s musical “Romeo y Julieta”·    Company “Polyamida records”. Production and arrangements of the record “Nitt” from the Senegalese group “Dhiambutu”·    Various Music for the DVD of the plastic artist Paul Carvajal and confection of the orchestral suite of the film “Al Sur de Granada” (Music by Juan Bardem)

2003·    Production company “El Deseo”. Directed by F. Sabroso & D. Ayuso. Production, supervision and arrangements of the sound track for the film “Descongélate”·    “Avispa Records” orchestration of two themes of Medina Azahara’s record “Aixa” recorded by the Córdoba Orchestra·    Merida Theatre Festival. Director Juan Margallo·    Musical production for the theatre play “La Paz”

2002·    Oriental Dance Company Lenna Beauty. Original music of the show “Mabruk”·    Anthony Blake. Composition of sound track (together with Luis Ibars) of the show “Espíritu”

2001·    Music for FITUR video, Japanese Siatsu School.·    Various spatialisations for the short film “Ciclo”; mix for the theatre play “Vida sexual del español medio” of Las Veneno·    PPPG Kesenian Yogyakarta (Indonesia)·    Music for the theatre play “Don Juan” (Moliere)

2000·    PPPG Kesenian Yogyakarta (Indonesia)·    Music for the theatre play “Doña Rosita” (García Lorca)

1999·    Centro Dramático Nacional (CDN) Production, music arrangements and orchestration for the theatre play “La Visita de la Vieja Dama”·    Alcalá de Henares Film Festival and Experimental Film Festival of Madrid·    Music for the short film “Animal” of Miguel Díez·    Prizes in Alcalá and Experimental Film Festival and nomination for Goya award.·    Fuepalbar Cia. Brussels (Belgium)·    Music for the choreography “Mismorigen”.

1995·    Teatro dei Documenti (Rome) Debut of the work “Endimión y la Luna”·    Academia de España in Roma. Debut of the work “A legno”·    Willibroad Co. (the Netherlands) CD recording of “Re-verse” by José Vicente·    Troupe Castiza, Alfil Theatre, Madrid·    Composition of music for the theatre play “Akabaret con Todas las Purgas” by Eduardo Fuentes

1994·    Instituto Cervantes. Leeds University (UK)·    Debut of the work “Agua Transfigurada” by Juanjo Guillem·    Instituto Cervantes·    UMIST, Manchester (UK)·    Debut of “Between Whistles and Flutes” by Juana and Juanjo Guillem·    Círculo de Bellas Artes Madrid. Debut of ”Diario de un Seductor”, “Haiku” and “Música para un aterrizaje Forzoso”.·    Círculo de Bellas Artes Madrid. Music for the work “Ante el Retiro” (T. Bernhard)·    Directed by María Ruiz·    Offenburg (Germany) Debut of the work “Triste a su lado”·    Teatro del Sur. Granada. Music for the theatre play “El Ultimo Dios” (García Larrondo)

1993·    Madrid Autumn Festival. Music for the work “Muelle Oeste” (Koltes). Directed by Carmen Portacelli.·    Madrid Autumn Festival. Music for the work “La Habitación Escondida” (E.·    Múgica)

1992·    Teatro Rosaura. Music for the work “Retén” (E. Caballero)

1991·    Albéniz Theatre. Madrid. Music for the work “El Filo de unos Ojos” (I. Martínez dePisón)

1990·    Príncipe Theatre. Gran Vía, Madrid. Music for the work “Gracias Abuela”(S. Junyent)

1988·    Centro Cultural de la Villa, Madrid. Music for the work "Rinoceronte” (Ionesco).·    The Cuban National Ballet, La Habana. Music for the choreography. “Al Compás”. 50th anniversary of the company.·    Dido Theatre Company. Music for the opera “Dido y Aeneas”·    University of Hong Kong. Debut of the work “Cenit 1342”·    Ysbreker (Amsterdam) Debut of the quintet “B”

1997·    Elche Film Festival. Music for the short film “El Nacimiento de un Imperio”. First prize·    UNESCO. Paris. Spanish representative at the International Rostrum of Composers in Paris with the work “Endimión y la Luna”·    French Institute Madrid. String Quartet for the choreography “Compartir el·    tiempo” (Pablo Molero)·    Bachzaal (Amsterdam) Debut of the work “Decursos”

1996·    Aspen Music Festival (USA) Debut of the work “Selves”·    Bachzaal. (Amsterdam) Monographic Concert: Debut of the works “Two Open·    Piano Pieces”, “Sex Fluctuationis” and “Divertimento”

TEACHING AND WORKSHOPS2007-2008 ·    Higher Music College of Oviedo. Acquires the post of professor specialised in audiovisual composition techniques.

2007 ·    Reina Sofía Art Centre National Museum. CDMC Conference on Midi audiovisual/orchestration preproduction.·    Music College of El Escorial

2005 ·    Higher Music College of Atocha·    Music College of Ronda

2004 ·    Cefore, Avila

2003 ·    Xunta de Galicia CEFORES A Coruña, Vigo, Ferrol, Pontevedra, Lugo, Santiago and Orense·    University of Castilla la Mancha; Albacete and Ciudad Real·    Music College of Getafe, Madrid·    Training courses for teachers of music colleges and/or primary and secondary schools as well as students of music computing.

2002-05 ·    Polimúsica.  Imparts the forums: “DSP’s for Native systems”, “Emulation of Acoustic Instruments with Samplers and MIDI Techniques”, “Logic 5, Novelties”, “Sibelius as composition tool”

2001·    HDM el submarino Conference:”Analysis of the score of Debussy’s Pelleas et Melisande”

2000 ·    PPPG Kesenian (Teacher training centre, Yogyakarta,Indonesia)·    Elaboration of curriculum for music studies in Indonesia.·    Teacher training in the areas of modern harmony, music technology, improvisation and audiovisual music·    Design for equipping the recording studios and libraries of these centres

1999 ·    CPR García Noblejas Madrid·    Course teacher of “Music Computing” for music college teachers.·    Polimúsica Madrid. Course teacher of “20th Century Electroacoustics Music”. Centred on work using the programme Audiosculpt of IRCAM

1998 ·    5th International seminar on the Donosita accordion. Course teacher of “New Rhythmic Techniques”·    Development of the techniques of South Indian classical music.·    Estudio Tres Madrid. Imparts the course: “Rhythm and Movement”·    University of Extremadura. Imparts the course: “Form in composition”. Applied to choreographic composition techniques

1997 ·    Association of Dance Professionals. Madrid. Imparts the course: “Rhythm for Choreographers and Dancers”·    University of Extremadura. Imparts the course. “Advanced Rhythm and Movement Techniques”·    Joaquín Turina Music College. Madrid·    Teacher at the seminar: “Analysis of Spanish Contemporary Music”

1996 ·    3rd International Donosita Accordion Seminar. Imparts the course: “20th Century Music”

1994 ·    International Percussion Seminar of Altea. Presentation: “Notation in 20th Century Music”

08sotd2128

El material que da origen a la composición son grabaciones históricas realizadas en cilindros de cera (en alemán, “Walze”) procedentes del archivo del Museo Etnológico de Berlín. La grabación original se realizó a principios del pasado siglo.

Procesé los sonidos y los ruidos del cilindro de cera utilizando un ordenador y combinándolos para formar una nueva composición. Me interesaba la interacción de la “memoria” grabada, la imaginación (¿quién cantaba/interpretaba el qué, dónde y por qué?) y la desintegración de la información a causa del material (ruido de fondo, fallos técnicos, descomposición), el desvanecimiento de los contextos semióticos, y, por último, mi proceso electrónico. Mi método consistía en contrastar e integrar el sonido de los cilindros de cera y el contenido de audio que soportaban.

La grabación y el almacenamiento de “información de audio” irrelevante me hizo sentir curiosidad y me inspiró para trabajar con el material. Al igual que la viejas fotografías que pierden claridad lentamente, la “información de audio” desaparece o cambia, bien por la descomposición del medio o, en el nivel semiótico, por la ignorancia del oyente que, cuanto más viejo se hace el material, sólo puede imaginar cómo pensó o vivió la persona cuya canción o música se interpretan póstumamente.

En su ensayo Die helle Kammer (título inglés: Camera Lucida) Roland Barthes describe la situación paradójica que se da en la coincidencia del pasado y el presente, y que tiene lugar cuando se contemplan fotos antiguas. Un efecto similar se consigue a través de la reproducción sonora renovada de voces grabadas procedentes del pasado. Naturalmente, esto es cierto de cualquier grabación, pero se intensifica por la antigüedad de las grabaciones realizadas en cilindros de cera. Después de todo, es probable que todas las personas que crearon la música estén muertas. La impresión de una época pasada se ve incrementada por rastros técnicos como crujidos, susurros, etc., comparables al cambio de colores, los pliegues, los arañazos y las manchas de las viejas fotografías.

Acerca de la colección del Museo Etnológico:A finales del siglo XIX, Thomas Alva Edison patentó el fonógrafo e hizo posible por primera vez la grabación y la reproducción de sonidos. Utilizando un embudo, las ondas sonoras se recogían y – como en los discos de vinilo – quedaban grabadas en un cilindro giratorio de cera por medio de una aguja que estaba fija en una membrana.La colección del Museo Etnológico de Berlín comprende treinta mil cilindros de cera que se almacenan en el sótano del museo. Aquí pueden hallarse de nuevo desde 1993 ya que permanecieron perdidos durante casi cincuenta años en la URSS y en la República Democrática Alemana.Muchos de los cilindros se rompieron durante el transcurso del tiempo o se deformaron o, por otros motivos, resultaron irreproducibles, y en su mayor parte el índice de contenidos brinda escasa información.El museo ha publicado – por desgracia sólo unos pocos – discos compactos que contienen las grabaciones fonográficas, en las que, sin embargo, el ruido de fondo de los ruidosos cilindros se redujo cuanto fue posible. En mi labor de proceso, sólo utilicé grabaciones directas con todos los ruidos técnicos, errores, susurros, etc.

08sotb2073, 08sotc2088, 08sose2133

 The source material of the composition are historical recordings made on wax cylinders (German: “Walze”) from the archive of the Ethnologic Museum in Berlin. The original recording was made at the beginning of the last century.

I processed the sounds and noises of the wax cylinder using a computer and combining them to a new composition. I was interested in the interplay of recorded “memory”, imagination (who sang/played what where and why?) and the disintegration of the information by the material (background noise, technical faults, decay), the fading of semiotic contexts and lastly in my electronic processing. My method was to contrast and integrate the sound of the wax cylinders and the transported audio content.

The recording and storing of immaterial “audio information” made me curious and inspired me to work with the material. Like old photographs that slowly fade, the “audio information” disappears or changes either by decay of the medium or on the semiotic level by the ignorance of the listener who, the older the material becomes, only can imagine how the person whose song or music is played posthumously, thought or lived.

In his essay Die helle Kammer (English title: Camera Lucida) Roland Barthes describes the paradox situation in the coincidence of past and present which takes place when looking at old photos. A similar effect is achieved through the renewed sounding of recorded voices from the past. Of course this holds true with any recording, but is intensified by the old age of the wax cylinder recordings, after all it is likely that all the people that created the music are dead. The impression of times past is increased bytechnical traces crackling, rustling, etc. comparable to the changing of colours, folds, scratches and spots on old photographs.

About Ethnological Museum‘s collection:At the end of the 19th century Thomas Alva Edison patented the phonograph and for the first time, made it possible to record sounds and replay them. Using a funnel the sound waves were recorded and – like with vinyl records – engraved in a turning wax cylinder by a needle fastened on a membrane.The collection of the Ethnological Museum in Berlin encompasses 30 000 wax cylinders which are stored in the museum‘s cellar. They can be found here again since 1993 as they were lost for almost 50 years in the USSR and the German Democratic Republic.Many of the cylinders cracked during the course of time, or molded or became otherwise unplayable, and the table of contents mostly gives but sparse information.The museum released – unfortunately only few – CDs contains the phonograph recordings, on which however the background noise on loud cylinders was reduced as far as possible. For my processing I only used direct recordings with all the technical noises, mistakes, rustling, etc.

08sotb2073, 08sotc2089, 08sose2133

PETRA DUBACH EINDHOVEN / NETHERLANDS, 1954MARIO VAN HORRIK / NETHERLANDS, 1956LIVES AND WORKS IN: EINDHOVEN, NETHERLANDS HTTP://HOME.TISCALI.NL/DUHOVOF/OBRA EN MADRID ABIERTO: UTRECHT CS

From 1993 we are working together as an artistic duo.

The starting point for our artistic work is the notion, that movement and sound are identical; without movement (vibration) nothing can be heard. This idea is worked out by us in every thinkable form: installations, works in progress on location, performances, concerts, etc.

Because of the temporary character of the media sound and movement, our works, up to now, have always been presented during a limited period of time. So there are no objects for sale.

Besides using the media movement, sound and image, we also have an interest in using new media and technology, that are often realized especially for our projects. Recently we are very interested in projects that deal with communication, formal translations, and (mis)understanding.

SELECTION OF PRESENTATIONS2007·    Performance, Jeroen Bosch-festival, Den Bosch·    Installation "Slow Motion", a-m-b-e-r festival, Istanbul·    Pecha Kucha-presentation, 400 seconds, Garajistanbul, Istanbul

2006·    De Overslag, Eindhoven; installation and masterclass·    AUX, Copenhagen; participation in festival Technical Breakdown in the public space·    Logos Foundation, Ghent; feedback-soundperformance with video

2005·    Cacaofabriek, Helmond; objects in groupexhibition·    Center for the arts "Belgie ", Hasselt. Festival ManGod; installation and 2 ·    soundperformances·    Open air concert, Inkijkmuseum, Eindhoven·    OT301, Amsterdam; concert·    Festival Musik und Bild, Gallus Zentrum, Frankfurt; concert+video

2004·    Project CU 29, Watertoren HK, Vlissingen·    Het Klein Multimediafestival, installation+performances, Eindhoven·    Bison Caravan, traveling group-exhibition, object, HK Watertoren, Vlissingen·    Vrijheidsfestival, concert, Carte Blanche, Eindhoven·    Release of double cd-rom CU 29 and Geluidskunst·    Release audio-cd "Live in Prague"·    Festival für experimentelle Musik, TU München

2003·    Organisation of a tour of 8 soundartists to Belgrade·    Concert at April Meeting Festival, SKC, Belgrade·    Concert at Ringring-festival, REX, Belgrade·    Concert at Interzone 2003 festival, Novi Sad·    Groupexhibition "Corporate Identity", NBKS, Breda·    Installation "Geluidskunst", Synagogue at Palmovka, Prague·    Concert, Synagogue at Palmovka, Prague·    Concert, Festival Sound-Movement-Image, House of Art, Opava, Czech Rep·    Concert, Sklenena Louka, Brno·    Lecture at FAVU, University of Brno·    Project "Cu 29", Watertoren HK, Vlissingen. Project consisting of a work in progress, ·    3 soundinstallations, and 3 performances

2002·    Concert, LOGOS Foundation, Ghent·    Concert, Exposition of New Music, Brno, Czech Republic·    Installation "Medeklinkers", de Witte Dame, Eindhoven·    Website "The Anonomous Serenade", Project 4x4x4, MAD Foundation, Eindhoven. ·    www.4x4x4.dse.nl

2001·    Installation "Interference", 2 concerts, IM Festival, Minebuilding, Waterschei,Belgium·    Performance "Jestem ruchem", Fest. Castle of Imagination, BWA, Zielona Gora, Poland·    Performance, i.c.w. Jirzi Kurovka, Sylvette Babin, Oskar Dawicki, Fumiko Takahashi; Castle of Imagination, BWA, Zielona Gora, Poland·    Performance "Jestem ruchem", first version,  gallery BWA, Ustka, Poland·    Performance,  "I am movement", performance festival, Piotrkow Trybunalski, Poland·    Installation and concert, SKC, Belgrade·    Installation and performance, REX, Belgrade

2000·    Installation, ‘Hladilnica", Pekarna, Maribor, Slovenia·    Installation "Shadow Play", 1may-festival, 2B, Eindhoven·    CD "The Adventures of Toon Scales", Bake Records, Staalplaat, Amsterdam·    Installation Ínterference', at the complex of NRE Powercompany, Eindhoven·    Installation, concert, and presentation at Gallery ‘de Overslag', Eindhoven

1999·    Participation in "Conjunction", CD/Internet-project, Triple-X-festival, Amsterdam·    Performance "The Boxing-ring", performance-festival, Cuba Cultur, Muenster, Germany·    Installation "The Gathering", Musikfestspiele Sanssouci, Potsdam, Germany·    Participation on a performance of Jens Brand, Galery de Overslag, Eindhoven

1998·    "Global Mix", live-radiomix through Internet from the Goethe Institute, Krakow, Poland·    Installation "Shadow Play", and concert; Bunkier Sztuki, Krakow, Poland·    Installation "DioN.Y.sus'Scales", and concert; Audio Art Festival, Ujazdowski. Castle, Warsaw·    Installation "The Gathering", festival Baitz mit Klang, Baitz, Germany·    Concert, Kunstfabrik, Darmstadt, Germany·    Performance "The Boxing-ring", Performance Art Festival, Cleveland,OH,USA·    Performance and installation ÏnSight", Spritzenhaus, Hamburg, Germany

1997·    Installation "DioN.Y.sus'Scales", HK Watertoren, Vlissingen·    Concert,  Kulturzentrum BOA, Lucerne, Switzerland·    Project ‘Het Vogelbekkenstuk", with Moniek Darge, Logos Fnd. Ghent, Belgium·    Concert, Kuenstlerhaus, Dortmund, Germany·    Project "Het Vogelbekkenstuk", with Jim Dvorak, Vrijhof Theatre, University of Enschede·    Project "Het Vogelbekkenstuk", with Cor Gout and Wilbert de Joode, Effenaar, Eindhoven

1996·    Installation Oorsmeer, de Singel, Antwerp, Belgium·    Installation Oorsmeer, Center for the Arts "Vooruit", Ghent, Belgium·    Concert, Untitled Festival, Willem II, Den Bosch·    Installation Oorsmeer, Theater a/d Parade, Den Bosch·    Installation "DioN.Y.sus'Scales", Triple X-festival, Westergasfabriek, Amsterdam·    Installation "The LocoMotives", Central Railway Station, Eindhoven·    "First Night Installation", with Dan Senn and David Means, 1048 Broadway, Tacoma,WA,USA

1995·    Concert, Festival Experimental Music, Polytechnic University, Munich·    Installation "The State of things", +concert, het Stroomhuis, Neerijnen, NL·    Concert, "Belgie", Hasselt, Belgium·    Groupexhibition "Rotterdam/Vladivostok, Railwaystation Schiedam and Gallery Artetage, Vladivostok·    Installation and performance "Shadows", Islip Art Museum, Islip, NY, USA·    Installation "FBI", de Unie, Rotterdam

1994·    The boxing-ring and concert, Experimental Intermedia, New York, NY, USA·    Artist-in-residency, Harvestworks, New York,NY,USA·    Installation "DioN.Y.sus'Scales", Gallery Art in General, New York,NY,USA·    Installation "Pegasus", Museum School of Fine Arts, Boston,MA,USA·    Installation "Donar's Chariot"and concert; Islip Art Museum, Islip, NY, USA·    Installation "Donar's Chariot"and concert; Vooruit, Gent

1993·    Concert, Videcultura, Haarlem·    Installation and concert; Hermit Festival, Plasy, Czech Republic·    Installation "Donar's Chariot"and concert, het Apollohuis, Eindhoven·    Concert, de Melkweg, Amsterdam·    Concert, Stedelijk Museum, Amsterdam/ VPRO-radio·    Performance "Black Box", Effenaar, Eindhoven·    Performance+concert; Center for New Dance Development, Arnhem

08sotd2126

FORMAT: : MULTI-CHANNEL SOUND INSTALLATION / NEW YORK (USA) YEAR: 2007 PARTICIPATING MUSICIANS: JOSHUA CAMP- ACCORDION, ANDY COTTON- UPRIGHT BASS KATHLEEN EDWARDS- VIOLIN BEN GERSTEIN- TROMBONE MICHAEL HEARST- THEREMIN, KURT HOFFMAN- CLARINET BEN HOLMES- TRUMPET, MEG REICHARDT- BANJO PEI-YAO WANG- PIANO

 Arnold Schoenberg famously quipped, "My music is not really modern, just badly played." My piece, The Broken Orchestra, metamorphoses his complaint into a guiding principle, imposing a musical procedure designed to reduce the proficiency of professional musicians to a primitive state, in the interests of effecting musical discoveries.

A group of musicians on various instruments are asked individually to recreate the sounds found on an old cassette recording of Bach's Ave Maria as performed by my brother on violin and me on piano when we were youngsters living in Taiwan.

The original recording is characterized by its youthful performers' wobbliness, and a significant about of extra-musical ambience: my 3 year-old sister's giggling, my scolding of her, and so on. The participating musicians' personal memories might be summoned by having to imitate the childish quality and recall the times where they were still fumbling the instruments and learning what music could possibly mean to them. Their musical sensibilities might be challenged by having to respond to this universally known tune in this imperfect and distorted form.  As each re-creation is made, the musical qualities translate through each participant's memories and their own interpretation of a form of musical simplicity.

The result of the experimentation was originally a multi-channel sound installation consisting of the original recording layered with each re-recreation in separate speakers played back in loop. For Madrid Abierto, I made a stereo mix from the original format.

08sotb2074,  08sotc2091, 08sose2134

GLÓRIA DE DOURADOS, BRASIL, 1982 LIVES AND WORKS IN BARCELONAWWW.PEDROTORRES.NETWORK EXPOSED IN MADRID ABIERTO: RETHE

GRANTS2008 ·    Artists-in-residence. Culturia, Berlin, Germany2007 ·    Plastic arts grant for artistic production. Marcelino Botín Foundation, Santander, Spain2006 ·    Education grant for Specialisation Course on Preserving the Artistic Heritage and Use of New Technologies. Media Centre d’Art i Disseny (MECAD), Barcelona, Spain2005 ·    Education grant to participate in QUAM (Quinzena de Arte de Montesquiu), Vic, Barcelona, Spain

INDIVIDUAL EXHIBITIONS2007·    Yellow for waiting. Noó. Barcelona, Spain·    Still missing. Noó, Barcelona, Spain

COLLECTIVE EXHIBITIONS2007·    FIAV.07_Artistic Video Images Festival. Mihaud, France·    Optica: International VideoArt Festival of Gijón, Spain·    1st Índice VideoArt  Exhibition. Recife, Brazil·    SIART International Biennale. La Paz, Bolivia·    International VideoArt Festival 2007. Zona 9. Chile·    Os. Noó, Barcelona·    DIBA_Digital Barcelona Film Festival. Diba Express, Barcelona·    Festival Loop_Videoart. Barcelona

2006·    Sonorous intervention in installation Atelier 397. Sao Paulo, Brazil·    5th Sonorous and Visual Exhibition. Centre Cívic Convent de Sant Agustí, Barcelona, Spain·    La ilusión del pirata. Miquel Casablancas Prize. C.C. Sant Andreu, Barcelona, Spain

2005·    Centre Cívic Barceloneta, work installed on the roof (site-especific), Barcelona, Spain·    BAC VI! CCCB. International Contemporary Art Festival, Barcelona, Spain·    El temps: de la imatge a la paraula. Centre Cívic Can Baste, Barcelona, Spain·    El que sembla: la vista i la intuició. Centre Cívic Barceloneta, Barcelona, Spain·    Stripart. 10th Del Guinardó Young Art Exhibition. C.Cívic del Guinardó, Barcelona, Spain

2004·    I Salão Aberto – parallel to the 26th Sao Paulo International Biennale, Brazil

2003·    6th Photography Exhibition: Amantes da Fotografia. FAU-USP. Sao Paulo, Brazil·    1st. Salão de Arte de Itapecerica da Serra. Sao Paulo, Brazil

PUBLICATIONS·    Magazine ROJO. Publications Rita y Elen . Photographs of Barcelona, March/September, 2004·    Catalogue. BAC!05 La Violencia. La Santa, Barcelona, 2005

08sotd2124

FORMAT: CD / AIFFYEAR: 2003

Language is a stereophonic sound structure composed for seven vocalists (none of whom are using their vocal cords).

Josh Goldman is a composer / improviser / guitarist / educator who resides in the United States. He composes / improvises / performs music, using acoustic and electronic sources, for various ensembles and settings. Much of his music combines sound and visual elements (film / video / various installation spaces).

His compositions and performances have been heard and awarded internationally. Mr. Goldman holds degrees from New England Conservatory of Music (BM in music performance) and Brooklyn College, CUNY (MM in music composition). Currently, he is pursuing a doctoral degree in music composition at the University of Cincinnati College-Conservatory of Music (CCM).

08sotb2075, 08sotc2093, 08sose2136

NORTH FERRIBY, EAST YORKSHIRE, UNITED KINGDOM, 1969LIVES AND WORKS IN LONDONWORK EXPOSED IN MADRID ABIERTO: HAIR+SPIT V1.0Patrick Courtney is currently based in Hackney, London, after recently returning to the UK after several years living in Lisbon, Portugal. He has since worked on various freelance projects including; The Big Chill House in Kings Cross, London, for Department of Design, a commission for a permanent LED work, ’60 Murders’ for the boardroom of Lisbon law firm Sternberg, Galamba & Portugal, installed in September 2006 and the exhibition of his sound piece, ‘The Choking Pot’, at Sociedade Guilherme Cossoul, Lisbon, in October-November 2006. In July 2007 he first presented ‘hair+spit.v1.0’ at the Bregenzer Kunstverein, Bregenz, Austria in the exhibition 4’33” after John Cage.

In Lisbon, Courtney was a lecturer and tutor in video at ETIC (Escola Técnica de Imagem e Communicação) 2003-06 developing Laboratorio experimental. He was commissioned in 2003 to create an interactive video & sound piece at the Igreja Santa Luzia, Lisbon, ‘Holy Trinitron (Voice of God)’, which after some controversy with the church authorities was subsequently cancelled in June 2004.

Previously Artist Project Coordinator for Vivid (Birmingham Centre for Media Art) in Birmingham, UK, 2000-02, developing the ‘hothaus’ media lab project for emerging artists, including co-curating Metapod 01 where he commissioned and presented Herwig Weiser’s electro-magnetic piece, zGodlocator, at IKON Gallery in 2001. He also taught Technology in Art & Design at UCE, Birmingham as an Invited Lecturer 2001-02.

From 1996 until 2000 Courtney was the Touring & Production Manager at Hull Time Based Arts, Kingston upon Hull, UK, and also between 1997-2000 was assistant & producer for Perry Hoberman, the New York based media artist, producing & presenting several of his works at European events such as DEAF, V2 Rotterdam, Mucsarnok, Budapest and Techni, Spazio Oberdan, Milan. These included Faraday’s Garden and System Maintenance, which won the interactive award at Ars Elecronica in 1999.

Courtney has also exhibited his own work, which usually although not exclusively focuses on his personal life; family, friends & lovers, including Galleria Ze de Bois, Lisbon – 2000 – Aston Villa (film); Stuttgart filmwinter, Stuttgart – 2002 – My Grandad; Perugia video festival, Perugia – 2002 – My Grandad. He has worked and collaborated with many artists and producers over the years including, Darryl Georgiou, Brian Duffy/Modified Toy Orchestra, Mike Stubbs, Sadie Plant, Evelyn Wilson, Harry Palmer…

He has recently being working for Birmingham Rep Theatre, Birmingham producing sets for several productions and developing the next phase of the hair+spit project: hair+spit (HOME HOM HOM HOW DO U LIKIT) with the curator Helen Sloan.

08sotd2122

NORTH FERRIBY, EAST YORKSHIRE, UNITED KINGDOM, 1969VIVE Y TRABAJA EN LONDONHAIR+SPIT V1.0OBRA EN MADRID ABIERTO: HAIR+SPIT V1.0Patrick Courtney reside actualmente en Hackney, Londres, después de haber regresado recientemente al Reino Unido tras varios años viviendo en Lisboa, Portugal. Desde entonces ha trabajado en varios proyectos por cuenta propia, incluyendo The Big Chill House en Kings Cross, Londres, para el Department of Design, un encargo para un trabajo LED permanente, ’60 Murders’ para la sala de juntas del gabinete jurídico ,Sternberg, Galamba & Portugal, instalado en Septiembre 2006 y la exposición de su obra de sonido, ‘The Choking Pot’, en la Sociedade Guilherme Cossoul, Lisboa, en Octubre-Noviembre de 2006. En Julio de 2007 presentó por primera vez ‘hair+spit.v1.0’ en el Bregenzer Kunstverein, Bregenz, Austria en la exposición 4’33” después de John Cage.

En Lisboa, Courtney fue profesor y tutor de video en ETIC (Escola Técnica de Imagem e Communicação) 2003-06 creando el Laboratorio experimental. En 2003 recibió el encargo de crear una obra interactiva de sonido y video en Igreja Santa Luzia, Lisboa, ‘Holy Trinitron (Voice of God)’, que después de cierta controversia con las autoridades eclesiásticas fue posteriormente cancelada en Junio de 2004.

Previamente, fue Coordinador de Proyecto de Artista para Vivid (Birmingham Centre for Media Art) en Birmingham, UK, 2000-02, elaborando el ‘hothaus’, proyecto de laboratorio de medios para artistas emergentes, incluyendo su colaboración en Metapod 01 donde dirigió y presentó la obra electromagnética de Herwig Weiser, zGodlocator, en la IKON Gallery en 2001. También enseñó Tecnología en el Arte y el Diseño en UCE, Birmingham como profesor invitado en 2001-02.

Desde 1996 hasta el 2000, Courtney fue el Director de Gira y Producción en Hull Time Based Arts, Kingston upon Hull, UK, y también entre 1997-2000 fue asistente y productor de Perry Hoberman, el artista de medios afincado en Nueva York, produciendo y presentando algunos de sus trabajos en eventos europeos como DEAF, V2 Rotterdam, Mucsarnok, Budapest y Techni, Spazio Oberdan, Milán. Éstos incluyen Faraday’s Garden y System Maintenance, los cuales ganaron el premio interactivo en el Ars Elecronica en 1999.

Courtney también ha expuesto su propio trabajo, que normalmente aunque no de forma exclusiva, se enfoca en su vida personal: familia, amigos y amantes, incluyendo la Galleria Ze de Bois, Lisboa – 2000 – Aston Villa (film); Stuttgart filmwinter, Stuttgart – 2002 – My Grandad; festival de video de Perugia, Perugia – 2002 – My Grandad. Ha trabajado y colaborado con muchos artistas y productores durante muchos años, incluyendo a Darryl Georgiou, Brian Duffy/Modified Toy Orchestra, Mike Stubbs, Sadie Plant, Evelyn Wilson, Harry Palmer…

Recientemente ha trabajado para el Birmingham Rep Theatre, Birmingham, creando decorados para varias producciones y desarrollando la siguiente fase del proyecto hair+spit (HOME HOM HOM HOW DO U LIKIT) con la directora Helen Sloan.

08sotd2121

FORMAT: WAV 44.100 HZ. / 16 BITS

The timbre of the voice, its breaking, fragmentation, hidden melodies, internal life and, once again, the voice.

 Constructed using a recorded text, subsequently processed with proliferation and granular synthesis systems to obtain timbre textures and polyphonies.

All the sounds that intervene in the work have been obtained from processing the voice recording which, in turn, appears in the work as a linear discourse.

The tensions between the recited text and the manipulated text establish an agonising and direct relationship between the literary image, the verbal message and the timbre play that engulfs it. From a sonorous point of view, it is all destroyed and reconstructed, just as it happens in the textual message.

08sotb2076, 08sotc2095,  08sose2137

CUENCA, ESPAÑA, 1956 LIVES AND WORKS IN: VALENCIA, ESPAÑAWWW.MARIANTONIETA.COMWORK EXPOSED IN MADRID ABIERTO: LA MADRE

Sound workshops lecturer at the Department of Fine Arts of the Polytechnic University of Valencia, the Polytechnic University of Cartagena, the University of Castilla la Mancha and the Valencia General Society of Authors. Lecturer at the Electroacoustics Laboratory of the Higher Music College of Valencia.

Guest researcher at the Northwestern University of Chicago, Illinois. Technical Director and founder of the Gabinete de Música Electroacústica de Cuenca.

He has composed music for the exhibitions and installations of many plastic artists, namely, Miguel Molina, Emilio Martínez, Vicente Ortiz, Mau Monleon, Monique Bastiaan, Amparo Carbonell, etc.He has been technical assistant of numerous composers at the Electroacoustics Music Laboratory of Cueca, namely, Horacio Vaggione, Luis de Plablo, Jose Manuel Berenguer, José Manuel López, Eduardo Polonio, Lejaren Hiller, etc.

As a composer, he has composed more than 100 pieces for different instrumental set ups and groups, always with the intervention of electronic and electroacoustics generation processes and sounds.

Ciber@rt. (Espacio Cultural El Tanque, Santa Cruz de Tenerife, 20-03-1999)

Selected in 1998 as Spanish representative at UNESCO’s International Rostrum of Composers.Selected in 2006 by Radio Nacional de España, radio Clásica, as Spanish representative for the event Cumpleaños del Arte

08sotd2120

BOSTON, MASSACHUSETTS, 1971 LIVES AND WORKS IN CINCINNATI, OHIOWWW.NMARTPROJECT.NET/ARTISTS/?P=329WORK EXPOSED IN MADRID ABIERTO: LANGUAGE

EDUCATION 2007 ·    Doctor of Musical Arts (composition), University of Cincinnati, College-Conservatory of Music (CCM), Cincinnati, Ohio, 2010 (anticipated)2005 ·    Master of Music (composition), Brooklyn College, Conservatory of Music, The City University of New York (CUNY), Brooklyn, New York1996 ·    Bachelor of Music (performance), New England Conservatory of Music, Boston, Massachusetts

AWARDS/HONORS2008-2007·    University Graduate Scholarship, University of Cincinnati, College-Conservatory of Music (CCM)

2007-2006.·    ASCAPLUS Award

2005·    5th “Pierre Schaeffer” International Competition of Electronic Music Composition, Accademia Musicale Pescarese, nomination·    32nd International Competition of Electroacoustic Music and Sonic Art, International Institute of Electroacoustic Music of Bourges (IMEB), selection

2004-2003·    Musica Viva 2004, Miso Music Portugal, International Society for Contemporary Music (ISCM), first prize·    The John Cage Award, Brooklyn College

1992-1996·    Scholarship, New England Conservatory of Music

TEACHING AND WORKSHOPS2006·    Public School Teacher Certificate in Music (Permanent), New York, New York

2005-2006 ·    Pratt Institute, Guest Lecturer, Brooklyn, New York

2004·    Brooklyn Philharmonic Teaching Artist, Brooklyn, New York

2003-2004·    Brooklyn College, Teaching Assistant, Music Theory, Brooklyn, New York

2002-2006·    New York City Public Schools, Music Instructor, (CS 6, Bronx, 2001; PS 223

2004-2005·    Queens, 2001; PS 176, Brooklyn, 2002-2003; PS 163, Brooklyn, 2002-2006; PS/IS 308, Brooklyn, 2004; PS 222, Brooklyn

1999-2002·    Mercy College (Bronx House Campus), Guitar Instructor (private), Bronx, New York·    Bronx House Music School, Guitar Instructor (private), 60 students, Bronx, New York

1997-1998·    Hawaii Yamaha Music School Incorporated, Music Center of Hawaii, Guitar Instructor (private), 40 students, Honolulu, Hawaii

1996-1997·    Gordon Keller Music, Vienna, Virginia; Music Outlet, Manassas, Virginia, Guitar Instructor (private), 45 students·    New England Conservatory of Music, Teaching Assistant, Aural Training, Boston, Massachusetts

RESIDENCIES2007·    Prairie Center of the Arts, Peoria, Illinois·    Montana Artists Refuge, Basin, Montana·    Kimmel Harding Nelson Center for the Arts, Nebraska City, Nebraska

COMPOSITIONS2007·    Hexagonal (Facets 1-6), composition for compact disc

2005·    By Rote, multimedia composition for electric guitar, electric bass, percussion, electroacoustic soundscape and planetarium

2004·    Color of a Doubt: an urban fable, film soundtrack·    Angel of Death, film soundtrack·    Consume, multimedia composition for compact disc and video (large screen projection)

2003·    Language, multimedia composition for voice, compact disc and video (large screen projection)

2002·    Fragment, composition for 60 guitars and 6 multicolored balloons

2001·    The Chosen Letters #5, #12, #12, #9, #19, composition for guitar·    The Chosen Letters #19, #25, #2, #9, #12, composition for guitar·    Women Who Eat Meat, film soundtrack

2000·    Paola, composition for electric guitar, electric bass, percussion, organ and string quartet

1998·    H1, composition for piano

1997·    The Chosen Letters #5, #20, #8, #1, #14, composition for piano·    Trialogue, composition for treble clef instrument, bass clef instrument and percussion

1996·    Descend, composition for guitar·    Walk, multimedia composition for electric guitar, electric bass, percussion, voice, audio tape, performance art and video (large screen projection)

1995·    To Sleep, composition for audio tape

·    ://selfportrait – a show for Bethlehem – a show for Peace, SoundLAB, Performance Intermedia Festival, OFFicyna Art Space, Szczecin, Poland

·    DEGEM WebRadio @ ZKM, German Association for Electroacoustic Music (DEGEM) and the Center for Art and Media (ZKM), Karlsruhe, Germany

·    art@radio, WMBC, Baltimore, Maryland

2004·    Musica Viva, Miso Music Portugal, International Society for Contemporary Music (ISCM), Lisbon, Portugal·    International Electro-Acoustic Festival at Brooklyn College, Brooklyn, New York·    Continental, New York, USA·    Lot 61, New York, USA·    ABC No Rio, New York, USA·    Living Room, New York, USA·    Two Boots Pioneer Theatre, New York, USA·    CBGB’s Gallery, New York, USA·    Glenn Branca: Symphony #13 "Hallucination City" (world premiere), World Trade Center Plaza, New York, USA·    CMJ Music Festival, New York, USA·    Knitting Factory, New York, USA·    Galapagos Art Space, Brooklyn, New York, USA·    Collective Unconscious, New York, New York, USA·    Anna Bannana’s, Honolulu, Hawaii, USA·    Art of the States, WGBH, Public Radio International, Boston, Massachusetts, USA·    Zeitgeist Gallery, Cambridge, Massachusetts, USA·    Jordan Hall, Boston, Massachusetts, USA·    Berklee Performance Center, Boston, Massachusetts, USA·    Millard Auditorium, Hartford, Connecticut, USA·    Reston Festival, Reston,Virginia

DISCOGRAPHY2007·    Electronic Music Vol. III, Musica Viva Competition Prize Winners 2004-2005-2006, Miso Records

2004·    BC Sound Serum, Brooklyn College Center for Computer Music (BCCCM)

PRIMARY MENTORS·    Mara Helmuth, Amnon Wolman, Paul Bley, Ran Blake, Hankus Netsky, Joseph Maneri, Scott Sandvik, Masashi Harada, Jackie McLean, Randy Johnston, Michael Fath, Bill Biesecke

08sotd2118

MADRID, 1974 LIVES AND WORKS BETWEEN MADRID, NICEWWW.CAMPO-DE-INTERFERENCIAS.ORGWORK EXPOSED IN MADRID ABIERTO: LA GENTE QUE VIENENative of Madrid, this composer managed to combine her advanced piano studies with a B.A. degree in philosophy from the Universidad Autónoma de Madrid. She studied composition in several Parisian institutions (GRM, IRCAM, ENMD D’Evry) and with different teachers: Jose Manuel López López, Philippe Leroux, Nicolas Vèrin and François Bayle.

She is currently working on her doctorate thesis on Aesthetics of Electroacoustic Music at the Université Paris VIII and Madrid’s Universidad Complutense. She has been awarded grants by the French Ministry of Research and the Spanish Ministry of Foreign Affairs.

Her activity field includes composition of electroacoustic, mixed, instrumental and short film pieces.  At the same time, she practices improvisation, creates sonorous installations and modifies electronic toys. Her music has been disseminated at various international festivals: Synthèse (Bourges), SMC (Lefkada), JIEM (Madrid), Foliephonies (Marseille), Punto de Encuentro (Valencia, Tenerife) and radio stations (RNE, Radio Libertaire, Czech Republic Radio).

Founding member of Campo de Interferencias, association dedicated to the dissemination and promotion of electro-acoustic and contemporary music.

08sotd2112

The railway station of the city of Utrecht, Netherland, is the most busy and central in the Netherlands.  

The railwaystation has 20 platforms, from 16 of these, passengertrains stop and leave at fixed times.

We have set out these 16 platforms on a card, used for composing for music boxes. (The instrument is played by turning a wheel, that pulls through the card. Holes cut in the card make the instrument play corresponding pitched notes). So every platform has its own fixed note. Then we punched the departure times for each platform out of the paper; one bar representing one hour. So 24 bars for one day.

The mp3-file attached is the result played by hand on the music box. Surprisingly, the squeeky sound of the instrument itself, and the resulting score, have very much the resemblance of a train leaving, accellerating, and stopping again.

08sotb2078, 08sotc2101, 08sose2141

TORONTO, 1968 LIVES AND WORKS IN TORONTOWWW.DEBSINHA.COM WWW.OLDMONKEY.WORDPRESS.COMWORK EXPOSED IN MADRID ABIERTO: THE 16 OFFERINGS ARE MADE

For many years a percussionist with a number of Canada’s premiere world music pioneers, Sinha has begun to forge a name for himself in the world of audio and new media art.  His training under master drummers from various world percussion traditions inform his work and his questioning of the role of tradition as a tool for innovation.  This basic premise fuels the many ongoing projects which form the basis for his creative output, including audio art, experimental video, audio installation, and performance.  His solo improvisational performances (using traditional percussion instruments, electronics, laptop, or combinations of all 3) are noted for their range of aural and physical gesture, and he continues to perform as a percussionist within the world music scene with various ensembles.  Current projects of note include the recording of a solo CD, a new live improvising duo as percussionist with Berlin’s Robert Lippok (of To Rococo Rot fame), and the creation of a body of video work for live performance.

Sinha is a recipient of grants from the Canada Council for the Arts, the Ontario Arts Council, the Chalmers Foundation, and the Toronto Arts Council.  The work he has undertaken with the assistance of these grants have allowed him to complete a variety of projects from studying with master drummers in the Middle East, to recording and releasing CDs, to touring, to composing and creating new media art.

GRANTS AND AWARDS2006·    Ontario Arts Council Grants to New Media Artists·    he sat on the glittering precipice, a net art/video work of 24 hours duration based on the passing of my father

2004·    Canada Council for the Arts Recording Grant·    Ima Ensemble: post traditional improvised music by World Music practitioners.·    Resulting CD bad monkey bad bad monkey released 2005

2003·    Canada Council Grants to Individual Musicians Program: Non-Classical Music·    Carnatic rhythmic theory and improvisation under master Trichy Sankaran.·    Advanced Frame drumming techniques and improvisation with Glen Velez (NYC)·    Hand drum and drumkit combination techniques with Seido Salisofski (NYC)·    Ontario Arts Council composition grant to compose 5 pieces for percussion and voice. Subsequently included on the CD "tumma"

2002·    Chalmers Professional Development Grant·    Study of traditional and non-traditional techniques in Persian hand drumming with·    Pejman Haddadi (tonbak and daf, Los Angeles)

2000·    Canada Council Grants to Individual Musicians Program: Non-Classical Music·    Carnatic rhythmic theory and improvisation under Mrdangam master Trichy Sankaran·    Accompaniment and percussion studies at Helwan University Faculty of Music,Cairo, Egypt·    Accompaniment and maqam studies with violinist Alfred Gamil, Cairo, Egypt·    1998. Toronto Arts Council Composer's Program·    To develop notation/compose for Winnipeg Taiko group Fubuki Taiko·    Also: Master Musicians workshop/concerts with Bassam Saba (USA, Lebanon), Beth Cohen (USA) and John Wyre (Canada) as part of concert series' presented by Maza Meze. Projects funded by the Canada Council, Toronto Arts Council, and Ontario Arts Council

RESIDENCY/EXHIBITIONS/SPECIAL PROJECTS2008·    Invited Artist, Deep Wireless Festival of Radio Art. Live performance as part of a quartet of sound artists for Radio Theatre. Toronto, Canadá

2007·    Nuit Blanche, commissioned project: where you are. One of 15 projects selected from open call. Cell phone audio art, where audience members dial a toll free number to listen to audio art constructed from recordings of Kolkata streets while walking the streets of Toronto during Nuit Blanche.  Project featured by eye weekly arts magazine·    Invited artist, Das Kleine Field Recordings Festival, Berlin·    Solo improvised laptop performance using archived field recordings from my own collection·    Duo concert with Berlin sound/electronic artist Robert Lippok on percussion and live electronic processing, presented by the Goethe Institut Toronto and Raster-Noton

·    Broadcast 2005 and now online at http://debsinha.com/3.MP3s/Deb%20Sinha.mp3

2005·    Inclusion on Deep Wireless Festival of Radio Art compilation CD·    CBC Radio Host, Music Around Us·    Guest host of nationally aired CBC Radio 2 program, July, 2005. Produced by Hele ·    Montagne and Keith Horner

ENSEMBLES/ONGOING·    Regular member of Lippok | Sinha (traditional world percussion with Berlin electronica/laptop artist Robert Lippok·    Ima Ensemble (leader; post traditional free improvised music created by world music practitioners)·    Maza Mezé (Arabic/Greek folk music fusion ensemble, performing original music/reinterpreting folk songs from Greece and the Arab world on traditional instruments)·    Maryem Tollar (Original jazz and Arabic songs)·    Ensemble Polaris (music from Scandinavia and northern countries)·    Appearances with autorickshaw, Trichy Sankaran (south Indian), Marilyn Lerner (improvised), Jean Derome (improvised), Jesse Cook (rhumba flamenco), Jane Siberry (pop), the Flying Bulgar Klezmer Band (Klezmer/jazz), Leela Gilday (singer/songwriter), Shurum Burum Jazz Circus (Arabic/Yiddish jazz), Silk Road Ensemble, Irshad Khan, Punjabi by Nature (bhangra/reggae)·    Accompanist for dance classes at National Ballet School of Canada (w. artist in residence Peggy Baker), Dancemakers, Toronto Dance Theatre Company, School of Toronto Dance Theatre

RECORDINGS (indicates Juno nominations, Juno winner)2006·    Autorickshaw: So the Journey Goes (Tala-Wallah)·    Leela Gilday: Sedzé

2005·    Ima Ensemble: bad monkey bad bad monkey·    Deep Wireless Festival of Sound Art, vol. II: compilation CD·    Begin·    Maryem Tollar: Book of Life

2004·    Four higher (Tala-Wallah)·    Debashis Sinha:  tumma·    2003·    Ensemble Polaris: Not Much is Worse Than a Troll·    The Flying Bulgar Klezmer Band: Sweet Return·    Maza Mezé: Secrets Moon Magic (CBC Records)

2002·    Flowers of Forgiveness·    Hypnotika (CBC Records)·    Fiddlesong

2001·    Quell. Nadjiwan·    The Liquidaires: Complicated Love

2000·    Brand New Threads. Songs from Middle Eastern Canada·    14 remembered

1998·    Unleavened·    Fiddlesong (Anne Lederman)·    Irshad Khan: Awakening·    1997·    Sable/Sand Trilogy·    Doula:  In The Garden

COMPOSITION2007·    Original music and sound design streamed over the internet live via video/audio chat. Driected by Jacquie P.A. Thomas at  the Royal Alexandra Theatre, April/May·    Hongbu and Nolbu and the Magic Pumpkins (LKTYP)·    Original music and performance for the Lorraine Kimsa Theatre for Young People.  Directed by Alan MacInnes, May·    Music for Visual Media (Highlights)

2005·    Music/Performance for Dance (Highlights). Stupa (Peter Chin)·    Musical Director for Dora award winning 7 dancer/5 musician work.  Performed October 10-17, in Toronto·    In A Landscape/Unfold (Peggy Baker Solo Dance)·    Solo percussion score/performance for 3 solo dances performed by dancer/choreographer Peggy Baker.  Performed at the Henry Moore Sculpture Gallery, Art Gallery of Ontario, September·    Made In India (Rubena Sinha)

2004·    Bollywood Hopscotch (Indance). Full length score and sound design created from 1 to 5 second sound bites of 1970's Bollywood songs.  Choreography by Hari Krishnan·    Choreographic Trust, Year Two (Peggy Baker Solo Dance)

2003·    Recreated the dance piece Sanctum (see below) with dancer Helen Jones. Choreography by Peggy Baker, music by Ahmed Hassan·    Hyphenated and Soraab  (Sampradaya Dance Company)·    Original music and live performance.  Performance created by Rubena Sinha and Shaun Phillips.  Presented in Winnipeg, MB, March·    Harbourfront PSA for Omni Television (Marble Media)

2002·    Composition and sound design. Choreographed by Anita Ratnam (Chennai) and Lata Pada, Toronto

2001·    Patterns in Snow (Fusion Dance Theatre). Original music and live performance. Performance commissioned by the St. Norbert Arts and Cultural Centre in Winnipeg, August

2000·    1 step forward, 2 steps back (inDance). Music composed for percussion and tape, performed with dancer Hari Krishnan, september·    Sanctum (Peggy Baker Solo Dance)·    14 remembered (Ahmed Hassan). Requiem in remembrance of the 14 women killed in the 1989 Montreal Massacre.  Ahmed Hassan, musical director. With music by Debashis Sinha and the 14 remembered ensemble. Recorded October 2000, world premiere December. 6, 2000 at Massey hall, Toronto. Video launch Nov. 30, 2002

1999·    A duet of percussion/sound and dance performed with dancer Peggy Baker as part of the Peggy Baker/Solo dance 1999 season.  Music composed by Ahmed Hassan·    Sable/Sand trilogy (Dancemakers)

1997·    Music composed by Ahmed Hassan, Colin Couch, Debashis Sinha, Maryem Tollar, and Ernie Tollar.  Live performances at Toronto's Premiere Dance Theatre,  February, Also released on CD·    Music for Theatre (Highlights)·    e-dentity (Mirvish Productions/Theatre Gargantua)·    The Crowning (Fusion Dance Theatre). Composer, musical director and instrumentalist for a multimedia/dance. Performance commissioned by the Winnipeg Art Gallery

MUSIC FOR VISUAL MEDIA (HIGHLIGHTS)·    New score for OMNI TV documentary Losing My Religion, release date 2007·    Music from quell and tumma and other compositions featured on CBC TV's The Fifth Estate, CBC Newsworld (various documentaries, 2004-present;·    Percussionist, No Man's Land, music and choreography by Peter Chin, Alex Oktan, (dir), 2005;·    Harbourfront PSA for Omni Television (Marble Media), 2003

08sotd2110

FORMAT: AIFF

Electroschotis is an electro-acoustic remake of a Schotis with Flamenco elements. It was conceived – among other acousmatic uses – for being amplified through loudspeakers in minaret style in strategic points of the city at dawn, nightfall and midday Fridays. It represents an alternative call (although not exclusive) to the religious call (traditionally in the form of a bell or Adhan) as an invocation to social and racial integration, as well as to civic mindedness and lost hope.

08sotb2079, 08sotc2103, 08sose2142

SAN JUAN, PUERTO RICO, 1974 LIVES AND WORKS IN SAN JUAN, PUERTO RICOHTTP://CAROLACINTRON.COM/WORK EXPOSED IN MADRID ABIERTO: MICRO SONIDOS

EDUCATION2004·    MFA School of Visual Arts New York, USA1998·    Interdisciplinary Studies in Photography·    Fine Art Department and Public Communication School, University of Puerto Rico, San Juan, Puerto Rico1996·    BA Comunicación Pública. University of Puerto Rico. San Juan, Puerto Rico

AWARDS AND GRANTS2003·    Artist-in-residence in Diapasón. New York, USA.·    Prize awarded by the d.u.m.b.o. Art Center and the Experimental Television Center, New York, USA.

INDIVIDUAL EXHIBITIONS (SELECTION)2005·    Espacios en transición. Gallery Raíces, San Juan, Puerto Rico

2003·    Recollected. East Side Gallery. School of Visual Arts New York, USA.

1998·    Installation: Viaje al encuentro. Gallery Francisco Oller, University of Puerto ·    Río Piedras, Puerto Rico

COLLECTIVE EXHIBITIONS2007 ·    8th Santiago Video and New Media Biennale (Nominated for the Juan Downey Prize) Santiago, Chile·    Bac! 07. International Contemporary Art Festival. CCCB, Barcelona, Spain·    Refréscate pa'l verano. Gallery Raíces. San Juan, Puerto Rico·    Circa, International Art Fair, San Juan, Puerto Rico

2006·    VAE 10. International Video/Art/Electronics Festival, Centro Cultural España. Lima, Peru·    Brok-en, TAG Rom, Hato Rey, Puerto Rico·    Rewind...Rewind II, National Art Fair, Antiguo Arsenal de la Marina Española, La Puntilla, San Juan, Puerto Rico·    Video Formes. Cleremont-Ferrand, France·    312 Offline Exhibition Program. Newfoundland & Labrador, Canada

2005·    Rewind...Rewind I, National Art Fair, Antiguo Arsenal de la Marina Española, La Puntilla, San Juan, Puerto Rico·    Zeppeling, 8th Festival of Sonorous Projects, Centro de Cultura Contemporania de Barcelona, Barcelona, Spain·    Prog:ME, Electronic Media Programme, Rio de Janeiro, Brazil·    6th Plastic Art Competition, Contemporary Art Museum, San Juan, Puerto Rico

2004·    First International New Media Arts Exhibition and Symposium. Beijing, China·    InLab New Media Show, Vlepo Gallery, Staten Island, New York·    MFA Computer Art Exhibition 2004, Visual Arts Gallery, Chelsea, New York, USA.

2003·    7th Annual D.U.M.B.O. Art Under The Bridge Festival, Empire-Fulton Ferry State ·    Park, Brooklyn, New York, USA.·    Far From Home Videos. Remote Lounge, New York, USA.

1999·    Velocidad. Violencia. Vacío. Espacio ?, San Juan, Puerto Rico·    Fotografía: medio de visión e ideas IV, Gallery Francisco Oller, University of Puerto Rico, San Juan, Puerto Rico

1998·    1st International Photography Biennale of Puerto Rico, Convento de los ·    Dominicos, San Juan, Puerto Rico

CATALOGUES ·    VAE 10, Internacional Video/Art/Electronics Festival, Lima, Peru·    Rewind...Rewind II, Nacional Art Fair, Antiguo Arsenal de la Marina Española, La Puntilla, San Juan, Puerto Rico·    Video Formes. Cleremont-Ferrand, France·    prog:ME, Electronics Media Programme, Rio de Janeiro, Brazil·    6th Plastic Arts Competition, Contemporary Art Museum, San Juan, Puerto Rico·    1st International Photography Biennale of Puerto Rico, Convento de los Dominicos, San Juan, Puerto Rico

PUBLICATIONS·    TagRom. Prototipo, No. 14, 2007·    Carola Cintrón expone en Raíces. El Nuevo Día, 11 January 2005·    Intervenciones Públicas y otros atavismos. El Vocero, 13 January 2005·    Galería Raíces, Recinto de Arte Contemporáneo. Art Premium, July/August, 2005

08sotd2108

 Inspired by being present in the moment, the sound around us and intrinsic sound within us, the essence of immateriality and reality is brought together to express that the immaterial is creation of reality and that reality is creation of the immaterial.

The titel expresses T’ai Chi: opposites come from unity and merge as one, something of the one is hidden in the other. Therefore the rotation symmetry and the dynamic interaction of polarities implies continuous cyclic movement and transformation.

The Soundscape composition is made by working with ‘real’ environmental sounds to create a new acoustic ‘virtual’ world. The concept of movement and transformation is expressed through the use of motion related and transit related sounds.

By taking environmental sounds from the natural and the mechanical world out of their context, a new unique space that exists only in sound is created. Immatereality is about the stages, motions and transformations in the realization of creation.

09-10sotc2897, 09-10sotb2887, 09-10sose2934

AVELINO SALA GIJÓN, 1972 LIVES AND WORKS BETWEEN MADRID, GIJÓN WWW.AVELINOSALA.COM

DANOBUENOS AIRES, 1985 LIVES AND WORKS IN MADRID WWW.ZIONTIFIK.COM

WORK EXPOSED IN MADRID ABIERTO: REFLEXIÓN ESTÉTICA

AVELINO SALAAfter graduating in Critical Contemporary Fine Art Practice and Visual Practice at the University of Brighton (Great Britain), Sala furthered his education in a large number of centres. He works across a widespread area covering the most various media of contemporary creation and dissemination. These include founding and co-editing the magazine Sublime. In parallel, he has shown his work in several solo and group exhibitions.

His focus shifts across a wide yet intense and fertile territory, defined by a conceptualisation of the eminently autobiographical as a reflection on the contradictions inherent to the artist's role in contemporary society, an issue he explores in his installations.

Avelino Sala co-opts the plethora of meanings of the word Socorro (help in English) to construct a narrative running through an installation based on the specific and immediate interpretations of the word by the inhabitants of the coastal town of Luanco. It then gradually opens up to a wider and more nuanced slew of applications connecting with the crisis and transformation of the fishing industry, the no less topical restructuring of the neighbouring metallurgic giant, and the alteration taking place in all areas of life (tourism, the service sector or the real estate and construction boom).

For the artist, the necessary awareness in relation to the state of unrest and confusing hopelessness requires a return to roots, a recovery of the distinctive signs he finds in handmade and manufactured products to reflect the kind of collective spirituality whose original focus is the image of the Cristo del Socorro [Christ of Succour], the object of local devotion which fishermen from Luanco pray to for protection in the seafaring work. Local tradition believes in the concession of this grace in hard times.

The requested and granted succour is rendered through the traditional nets, models, the perennial light, calling attention to the abandonment and shipwreck of many of the signs that used to single out Luanco from other coastal towns in Asturias.

 EDUCATION2001·    BA (Hons Degree) in Critical Art Practice from Brighton University, England

PROJECTS2006·    Monographic within the project Feedback y La Otra on Telemadrid

2004·    Co-founded the independent art space Subliminal Projects in Gijón

2002·    Founded and, since then, directs the magazine Sublime, arte + cultura contemporánea www.sublimeart.net·    Collaborates with various magazines and organisations towards disseminating current art.  ·    Has published monographics and critics in Sublime, ARCO especial, Contemporary, AlHarafish, AlPanPAm, Zehar, Las Políticas del Arte, w3art.es, www.sublimeart.net, and texts in the catalogues of various artists. Currently collaborates with the magazine CityScapes, Valencia.·    Has co-ordinated the Arte Joven Europeo forums held in Zaragoza and magazine events within the Interzonas (2006) context. Has also participated in the ARCO'06 debate tables and has given conferences and chats in several universities, namely, the University of Oviedo, Brighton, Navarra, the Cervantes Institute in Stockholm and the Stockholm WIP.

GRANTS AND AWARDS2007·    Artport International Award video, Basel, Switzerland. Unesco and the New York Foundation for the Arts, New York, USA·    Young Exhibition Organisers Competition (together with José Luis Corazón), Opere Murarie, Rome, Italy

2006·    Honorary mention, 19th Ibiza Biennale, Spain·    Support grant. Municipal Culture Foundation of Gijón, Spain

2005·    Grant from Bilbao Arte Fundazioa, Bilbao Arte. Basque Country, Spain

2004·    Acquisition prize, International Plastic Arts Competition of Cantabria, Spain·    4th Astragal prize, Youth Council of Asturias, Spain·    Artist-in-residence in ArtHaus, Ethan Cohen Projects, Truro, Massachusetts, USA·    Art projects support grant, Municipal Culture Foundation of Gijón, Spain

2003·    Honorary mention, Generación 2003, Caja Madrid, Spain·    A_T, Arte y política, El lenguaje como arma, video production project on the cities of the Atlantic Arc.·    Hangar artist-in-residence grant. Injuve and Hangar. Barcelona, Spain

2002·    Artistic creation grant. Sculpture Centre, Antón de Candas Museum, Asturias, Spain·    Support grant for the promotion of Spanish art and new tendencies, Ministry of Culture, Spain

2001·    Art disciplines education support grant. Asturias Regional Ministry of Culture, Spain·    Subsidies for on-line digital projects, FMC of Gijón, Spain·    Acquisition prize in drawing competition. Gallery Amaga, Avilés, Asturias, Spain

2000·    Art disciplines education support grant. Asturias Regional Ministry of Culture, Spain·    Brighton and Hove council student award, Brighton Council, England·    Artist-in-residence subsidy to stay at the Portland Sculpture Trust Research Centre. Brighton University, England

1999·    Art education support grant. Asturias Regional Ministry of Culture, Spain·    Caja de Asturias grant for projects and training abroad

1998·    First prize in the 8th Nicanor Piñole painting competition·    Art disciplines education support grant. Asturias Regional Ministry of Culture, Spain·    Brighton and Hove Council dent award, Brighton Council, England

1997·    Art disciplines education support grant. Asturias Regional Ministry of Culture·    Multi-disciplinary art activities subsidies. Municipal Culture Foundation and Popular University of Gijón, Spain

INDIVIDUAL EXHIBITIONS2007·    Anxiety, (Grito, ladrido, murmullo). WIP, Stockholm, Sweden·    Resistenza. Opere Murarie, spazio BDM, Rome, Italy·    Fuego camina conmigo. Gallery Espacio Líquido, Gijón, Spain

2006·    Arde lo que Será. Gallery MCO. Oporto, Portugal.·    DRAMA "PhotoEspaña". Gallery Raquel Ponce. Madrid, Spain·    Drama. Gallery Ferrán Cano. Palma de Mallorca, Spain

2005·    Reflexionen. Art Center Friedrichstrasse, Gallery Vostell, Berlin, Germany·    La Espera. Sala Carlos III. University of Navarra. Pamplona, Spain·    The Long Wait. Contemporary Art Space El Gallo, Salamanca, Spain

2004·    Icaro Project, 51 SIF. International Photography Hall, Centro Revillagigedo, Gijón, Spain·    Another man at the ArtHaus. Ethan Cohen Projects. Truro, Massachusetts, USA·    La Espera. Espacio Astragal. Regional Ministry for Youth. Gijón, Spain·    El hombre de la trinchera. EMAC Space. Plasencia, Badajoz, Spain·    Desarrollo Sostenido. Palacete del Embarcadero. Santander, Spain·    XXI Century man. Antón Museum. Candás, Asturias, Spain

2003·    Enfrentamiento hipercrítico. Gallery Mario Sequeira. Braga, Portugal·    Restlessness. Gallery Sicart. Barcelona, Spain·    Enfrentamiento crítico. ArtFutura 03, Foundation Gabarrón, Valladolid. Spain·    Restlessness. Espacio Líquido, Gijón, Spain·    Restlessness. Gallery Vostell, Madrid, Spain·    Restlessness. Gallery Sandunga, Granada, Spain

2001·    No sólo unos pocos sino todos están llamados.... Espacio Líquido, Gijón, Spain·    Void Project series. Salas de Caja de Asturias, Spain·    Void Project, S1. CCAI, Gijón, Spain

COLLECTIVE EXHIBITIONS2007·    Nightcomers. 10th Istanbul Biennale. Istanbul. Turkey·    Extensiones y anclajes, LABoral Art Centre, Gijón, Spain·    Anamnesia. Encuentro entre dos mares. Valencia-Sao Paulo Biennale. Valencia, Spain·    The Art House. Ethan Cohen projects, Miami Beach. Miami, USA·    ArtPort, Making waves. DIVA Art Fair, Paris, Le Louvre. Paris, France·    Pool Art Fair. Miami Beach. Miami, USA·    Balelatina. Art Basel, Gallery Espacio Liquido, Basel, Switzerland·    Scope Basel. Gallery Marc de Puechredon, Basel, Switzerland·    Festival Sonar. CCCB, Barcelona, Spain·    HoritzóTV. Perspectivas de otra TV posible. La Capella, Barcelona, Spain·    VIDA. International Sport and Art Biennale, CCA. Gijón, Spain·    Sights for now. Linkoping Art Centre, Sweden·    Arco 07. Gallery Espacio Líquido, Gijón and Gallery Raquel Ponce, Madrid, Spain·    Te Mando Un Colega. Gallery ADN. Barcelona and Espacio Abisal. Bilbao, Spain·    Signos de la Ciudad. CCAI de Gijón and CAAC, Andalusian Contemporary Art Centre, Sevilla, Spain·    PlayStation Suite, Madrid, Spain·    Norte Collection, Santillana del Mar, Cantabria, Spain·    Jam Art fair, ArtPort Project, Palma de Mallorca, Spain·    ArtValencia, ArtPort Project and Espacio Liquido, Valencia, Spain

2006·    Arco 06, Espacio Liquido. Madrid, Spain·    Fuego Camina Conmigo. Caracas Biennale. Fine Arts Museum Caracas, Venezuela·    Ibiza Biennale. Contemporary Art Museum Ibiza, Spain·    Vigilancia. Ediciones Arte y Naturaleza. Madrid, Spain·    7th Miniatures Biennale. La Laguna, Canary Islands, Spain·    1st Novartia Artistic Creation Competition, Murcia, Spain·    Extramuros Project. Escultura y paisaje en el arco Atlántico, Asturias, Spain; Portugal and United Kingdom·    Encuentros Arte y Naturaleza of Valle del Jerte. EMAC, Plasencia, Badajoz, Spain

2005·    Poles Apar t/ Poles Together project, 51st Venice Biennale, Italy·    Freakylandia, Gallery T20, Murcia, Spain·    Reflexionen. Rostock Kunsthalle, Germany.·    Scope Art Fair. Ethan Cohen Projects, London, England·    Water Ways project, Venice, Italy·    Photo LA. Ethan Cohen Art Gallery. Los Angeles, USA·    Mobile Art, LA Art fair, Los Angeles, USA·    Pornografías. Gallery Carmen de la Guerra, Madrid, Spain·    Art Brussels 05. Espacio Líquido, Brussels, Belgium·    ForoSur 05. Latin American Contemporary Art Fair, Espacio Liquido. Cáceres, Spain·    Explum. "Emerging Art Competition". Murcia, Spain

2004·    Psico Bunker. Santa Mónica Art Centre. Barcelona, Spain·    Solo para las Masas. Gallery Blanca Soto, Madrid, Spain·    Hartísima. Turin Fair, Espacio Liquido, Italy·    Park your Art. ScopeArt fair, Ethan Cohen Art Gallery, Miami, USA·    Observatori 04. Museum of Arts and Sciences, Valencia, Spain·    International Cantabria Plastic Arts Competition. Santander, Spain·    ScopeArt fair, Ethan Cohen Art Gallery, New York, USA·    Art Brussels 04. Espacio Liquido, Brussels, Belgium·    Off Loop, Barcelona, Spain·    Cologne Art fair, Espacio Liquido, Germany.·    Lisbon Fair, Espacio Liquido, Lisbon, Portugal·    34 Artistas ,14 dias de Revolución. Casa Duró. Mieres, Asturias, Spain·    ArteSantander. Gallery Sicart, Santander, Spain·    Ensalada de Bombilla, Gallery Blanca Soto, Madrid, Spain·    Dog days. FIB, Ruta artística, Benicassim Festival, Castellón, Spain·    Feedback. Espacio feedback, Madrid, Spain·    4th Plastic Arts Biennale. Foundation Rafael Botí. Córdoba, Spain·    Casas y Calles. Public and Domestic Art. Madrid, Spain

2003·    Cologne Art Fair 03. Gallery Vostell. Berlin, Germany·    Arte Lisboa 03. Espacio Liquido, Portugal·    03 Vilafranca Contemporánea. Gallery Sicart and Gallery Palma Dotze, Barcelona, Spain·    Open. Spaces. Hangar, Barcelona, Spain·    Sevilla Actual  03, isla de La Cartuja. Espacio Liquido, Sevilla, Spain·    National Art Biennale of Pamplona. La ciudadela, Pamplona, Spain·    Otras Meninas. Foundation Telefónica. Itinerant through Europe, and the USA·    Generación 2003. La Casa Encendida, Madrid and itinerant through Spain and Portugal.·    ARCO 03. Gallery Vostell, Madrid, Spain·    EX_IN, Sobre Exclusiones e Inclusiones. Espacio C. Cantabria, Spain·    Fluxus sin fin, Gallery Vostell. Madrid, Spain·    ForoSur 03. Gallery Vostell, Cáceres, Spain·    Periferias_2, interventions in public spaces, FMC, Gijón, Spain·    ArteSantander 03. Espacio Liquido, Santander, Spain·    Confluencias 03. Asturias Sculpture today. University of Oviedo, Spain

2002·    ARCO 02. Gallery Vostell. Madrid, Spain·    ArTransmedia. International Art Forums. Foundation DANAE. Gijón, Spain·    Tentaciones 02 Fair, Espacio Liquido, Madrid, Spain·    Pasajes del Paisaje, Albuquerque Museum. New Mexico, USA·    La Ruta del Sentido. Arquitectures, Casa de América, Madrid and Espacio Imatra, Bilbao, Spain·    ForoSur 02, Gallery Rafael Vostell. Cáceres, Spain·    Citas a ciega. Red de museos de Gijón, FMC, Spain·    Light is Life. Santander, Spain·    ArteSantander 02. Espacio Liquido. Santander, Spain·    Obsesiones de un turista. FMC de Gijón, Spain

2001·    PORTOARTE 01. Espacio Liquido. Oporto. Portugal·    Young Art European Forums. Teruel, Spain·    Degree show. Brighton University. Brighton. England·    La mirada en el agua. Barjola Museum, Gijón, Spain·    Gallery Apart. London, England·    Odisea en el espacio. Itinerant through Spain and France·    Diálogos lúdicos. Espacio Líquido, Gijón, Spain·    Gallery Altamira. Gijón, Spain

2000·    Interaction. South Gallery Grand Parade. Brighton University, England·    Gravedad Cero. Regional Plastic Arts Fair of Asturias. Itinerant through Spain and France·    Group show. Portland Sculpture Trust. Portland Island, England

1999·    Look both ways, Phoenix Gallery. Brighton Festival, England·    Multiples art market. Phoenix Gallery, Brighton, England·    Efecto 2000. Regional Plastic Arts Fair of Asturias. Itinerant through various Spanish cities and the Interceltic Festival of Lorient, France·    Triumph exhibition. Brighton. England·    International Artists' Book Fair. Brighton University, Barbican Gallery. London, England·    La mirada en el agua. Barjola Museum. Gijón, Spain

1998·    1st Urban Art Fair. A:Península. Gijón, Spain·    Nexo. Regional Plastic Arts Fair of Asturias, Spain·    It has art love in it, Brighton University, England

1997·    Gallery Altamira. Gijón, Spain·    El crisol del Norte. Young Art Fair of Asturias. Itinerant through Spain

WORK IN COLLECTIONS·    Testimonio collection. Caja Madrid, Spain·    Espacio C collection, Cantabria, Spain·    Bilbao Arte Fundazioa, Spain·    Temas de Arte collection. Comunidad de Madrid, Spain·    Caja de Asturias collection, Spain·    Local Council of San Martín del Rey Aurelio. Fine Arts Museum of Asturias, Spain·    Rottary Club collection. Antón Museum, Asturias, Spain·    Norte collection, Regional Ministry of Culture of Cantabria, Spain·    Local Council of Valdemoro, Madrid, Spain·    EMAC, Plasencia, Badajoz, Spain·    Arte y Naturaleza. Contemporary Art Centre of Ibiza, Spain

08sotd2105, 08sotd2106

HAMBURG, 1972 LIVES AND WORKS IN HAMBURG WWW.GREGORYBUETTNER.DEWORK EXPOSED IN MADRID ABIERTO: WALZE 1

2007·    Participation at the project “Microton - Science und Sounds“ new sounds for historic science movies. Special programm at the Kurzfilmfestivals Hamburg

2006-2007·    Participation at the project “Reise ins 21 Jahrhundert”, Composers in the Schools! A Project of Landesmusikrats Hamburg in cooperation with the Hochschule für Musik und Theater

2005 ·    Co-organizer (together with Sebastian Reier) of a series of movie events around the topic “sound and picture“ www.bildundton.tk·    Videoscreenings at: 2:13 festival [athen], metropolis, b-movie, infernale, s.k.a.m. kurzfilmfunk

2004 ·    Launch of the label 1000füssler which releases experimental music and video www.1000fussler.com·    Co-founder of the musician-organisation verband für aktuelle musik Hamburg, www.vamh.de·    Member of the musician-association hörbar e.v. www.hoerbar-ev.de

2000-2004 ·    Specialization in audiovisual work: sound, video, photography

1997-2004 ·    Communication design studies at the university for applied sciences, Hamburg

RELEASES·    nil_audio, 3”cd-r /AIC ·    23 ZOOMS, dvd-r + cd-r /1000füssler ·    every, 3”cd-r /1000füssler ·    3”/1, 3”cd-r /1000füssler ·    heiz, track on the cd “heizung raum 318“ with S.Funck, A.Tietchens, N.Stephan /1000füssler ·    domichel, contribution to the compilation “Der Michel und der Dom”, CD / Grünrekorder ·    tischbrunnen, contribution to the compilation “Verfassung”, LP / Hamburger Hörbar e.v. ·    alugeige, mp3-single www.plakatif.net   ·    Soon: walze 1-8, cd /fireworks edition records·    tba, cd / collaboration with Rhodri Davies / con-v

WITH FÜR DIESEN ABEND·    Since 2001 exist the audio duo “für diesen abend“ (engl: for this evening) with Stefan Funck. Partly in co-operation with the artist Katrin Bethge, who uses overhead projectors to convert the sounds of the duo to visuals and vice versa.

Performances ·    in Copenhagen, Rotterdam, Nijmegen, Hamburg, Berlin, Cologne, Düsseldorf, Frankfurt, Leipzig, Dresden, Erlangen, Detmold, Stralsund.

Festivals·    International Filmfestival Rotterdam 2007, 8. Festival Garage 2004 (Stralsund/Germany), The Art of Overhead 2005 (Copenhagen / Denmark), Blurred Edges 2006 -12 Tage aktuelle Musik (Hamburg)·    PlacardClubTransmediale (Berlin), Hafensafari.

Releases·    self titled, cd-r / 1000füssler·    Live, cd-r + video/Alulatonserien·    verbiegung der normallinie, contribution to the compilation “prosit zur letzten tide“, 2cd-r / Hörbar·    Soundtrack for the shortfilms Ellipse (2003 / 10 min / 35mm ) and Innen (2004 / 20 min / 35mm) by Martin Kaatz

08sotd2114

 Madrid breathing is a pulsatile composition entirely based on the sound of her breath, which has been digitally modified and arranged like a piece of music.She has conceived of the project for the radio. Her aim is to have it played in as many cities worldwide as possible.

The 'breathing' project is the idea of a collective, large-scale happening, in which all inhabitants of Madrid can participate. Right before transmission, the radio-audience should be asked to open their windows and project the sound onto the street. Passing pedestrians will perceive the sound emerging from the surrounding buildings as if the architecture itself reflected the rhythm of life.

At night, acoustic signals seem louder than during daytime. Nocturnal temperature inversions make sound travel further as it is reflected off the upper inversion layer. Also, general noise emission decreases and single sounds can be more easily distinguished. Late at night, as traffic slows down and most birds hushed, we perceive the nightly-active animals and the human society with its nocturnal noises: a single car passing by, music pouring out of bars and clubs, dialogue-bits, sounds of radio and TV, someone snoring or the neighbours making love.At other times or places, there are detonations – flight-bombers tend to circulate by night. Windows are broken, books or religious centres burned. With the help of fire and electricity the humans have become horribly inventive concerning their nocturnal activities.

Sometimes, the air finally seems still – and the individual finds himself alone.Now imagine, you were walking through Madrid at night and the buildings started to breath softly.

The composition was created in collaboration with sound engineer Eric B. Barr.

09-10sotb2888, 09-10sotc2899, 09-10sose2935

HAMBURG, 1972 VIVE Y TRABAJA EN HAMBURG WWW.GREGORYBUETTNER.DEOBRA EN MADRID ABIERTO: WALZE 1

2007·    Participación en el proyecto "Microton - Science und Sounds", sonidos nuevos para películas científicas e históricas. Programa especial en el Kurzfilmfestivals, Hamburgo

2006–2007·    Participación en el proyecto "Reise ins 21 Jahrhundert". Compositor en Schools!, un proyecto de Landesmusikrats Hamburgo en colaboración con el Hochschule für Musik und Theater

2005·    Coorganizador (junto con Reier) de una serie de eventos musicales relacionados con el tema "sonido e imagen" www.bildundton.tk·    Proyección de videos en: 2:13 Festival [Atenas], metropolis, b-movie, infernale, s.k.a.m. kurzfilmfunk

2004·    Lanzamiento del sello 1000füssler, que edita música y video experimentales www.1000fussler.com·    Cofundador de la organización musical verband für aktuelle musik, Hamburgo, www.vamh.de·    Miembro de la asociación de músicos hörbar e.v. www.hoerbar-ev.de

2000–2004·    Especialización en trabajo audiovisual: sonido, video, fotografía.

1997–2004·    Estudios de Diseño de Comunicación en la Universidad de Ciencias Aplicadas, Hamburgo.

PRODUCCIONES·    nil_audio, 3"cd-r /AIC ·    23 ZOOMS, dvd-r + cd-r /1000füssler ·    every, 3"cd-r /1000füssler ·    3"/1, 3"cd-r /1000füssler ·    heiz, tema en el cd "heizung raum 318" con S.Funck, A.Tietchens, N.Stephan /1000füssler ·    domichel, contribución a la recopilación "Der Michel und der Dom", CD / Grünrekorder ·    tischbrunnen, contribución a la recopilación "Verfassung", LP / Hamburger Hörbar e.v. ·    alugeige, mp3-single www.plakatif.net   ·    En breve:  walze 1-8, cd /fireworks edition records ·    tba, cd / colaboración con Rhodri Davies / con-v

CON FÜR DIESEN ABEND·    Desde 2001 existe el dúo de sonido "für diesen abend" (en español: "Para esta tarde") con Stefan Funck. Parcialmente en colaboración con el artista Katrin Bethge, que utiliza retroproyectores para convertir los sonidos del dúo en visuales y viceversa.  ·    Conciertos en Copenhague, Rotterdam, Nijmegen, Hamburgo, Berlín, Colonia, Düsseldorf, Frankfurt, Leipzig, Dresde, Erlangen, Detmold, Stralsund.·    Festivales: International Filmfestival Rotterdam 2007, 8. Festival Garage 2004 (Stralsund/Alemania), The Art of Overhead 2005 (Copenhague / Dinamarca), Blurred Edges 2006 -12 Tage aktuelle Musik (Hamburgo)·    PlacardClubTransmediale (Berlín), Hafensafari.·    Producciones:·    self titled, cd-r / 1000füssler·    Live, cd-r + video/Alulatonserien·    verbiegung der normallinie, contribución a la recopilación "prosit zur letzten tide", 2cd-r / Hörbar·    Banda sonora para los cortos Ellipse (2003 / 10 min / 35mm) e Innen (2004 / 20 min / 35mm) de Martin Kaatz

08sotd2113

LIVES AND WORKS BETWEENVITORIA-GASTEIZ, DONOSTIA-SAN SEBASTIÁNWORK EXPOSED IN MADRID ABIERTO: BIHOTZBIVITORIA-GASTEIZ, 1965   With an interest in music and painting, Zuriñe chose the latter for her academic studies. She studied composition with C. Bernaola in the Music Conservatory Jesús Guridi (Vitoria-Gasteiz), which proved to be a determining encounter, and she was subsequently awarded a grant to further her studies with F. Donatoni in Milan’s Scuola Civica where she made contact with the composers of the Italian contemporary school. She attended the seminars of Darmstadt, IRCAM , LIEM, ARTIUM, iMAL... 

Orchestrator of various films, she composes for advertising, theatre, animation, etc.  She is the author of the book-cover Presencias y Ausencias by Marisa Manchado (published by Endymion) and, in turn, producer of the videos Xera y Sortze, framed within the “1st Digital Art Competition of Sta. Mª de Guía” (Santa María de Guía, Gran Canaria).

She continued her composer trajectory developing new creation aspects based on generation and manipulation using electronic devices and mixed techniques, producing works of different formats, such as, musical theatre, sonorous performances and installations, in works like: Luz, The Hanged man, Astiro-Astiro, Esan Amandrie, Oihuka, Xurrumurruak, BihotzBi, HiruHotz, Zehiar, Azalpean, the musical action-workshop for children (puppets, music and electroacoustics) Ozendu and multidiciplinary shows like Hutsune Irudigarri, En busca del silencio, A contra luz (saxo, dance, sensors and electronics live) and the contemporary dance performance Cuatro por Cuatro with the company Michelle Man and Friends.

She has been commissioned work by several institutions, for example,: INAEM (Ministry of Culture), CDMC, Basque Government,  Quincena Musical, Federación Coral de Álava, The Symphonic Orchestra of  Euskadi.

Her catalogue includes work of different instrumental formations framed within national and international festivals, like:

Musikaste, Jornadas Música Electroacústica, Música del Siglo XX, Vitoria Territorio Visual (Vitoria-Gasteiz), National Auditorium, Concerts in the Reina Sofia Museum M.N.C.A.R.S., Jornadas de Informática y Electrónica Musical, Perspectivas 96 (Madrid), Concert Season, Symphonic Orchestra of Euskadi , Muestra Internacional de Música de Mujeres (Autor Foundation), Music of the 20th Century (Bilbao), Inauguration Concert for the Guggenheim Museum (Bilbao 1997). ENSEMS Festival, Quincena Musical, Festival Internacional de Música y Danza de Granada, Biennale dei Giovani Artisti dell’Europa, Spanish Academy (Rome),  Shyntèse Festival (France),   Sibelius Academy (Finland),  Groggia Theatre (Venice), Festival Músicas del Quinto Pino (Leioa), XX Edición Festival Madrid en Danza, Juan March Foundation, University of Milan, Kleiner Konzertsaal (Munich), Poland, Hungary, Dublin, London, Ljubljana...

Her recorded work can be found in various collective records.

She currently combines her creation work with teaching counterpoint and harmony at the Centro Superior de Música of the Basque Country (MUSIKENE).

07sotd1473

Format: Acusmática

 This piece was created in 2008 by field recordings made in the cities of Morelia and Mexico DF, recordings that took place in the sonic environment of the composer and that, at the same time, were registered in a logbook with the date and place of each recording. In a similar process to that of using a diary but instead of writing down the events, here they appear in a sound format.

Diario Sonoro recollects sounds from open and intimate spaces that the composer inhabits, listening situations that submerge us in different environments through fragments of sound, natural and processed, in a discourse that does not have a determined order. It simply opens up small windows of sound mixed in such a way that they offer a structure in which the piece is moving from one atmosphere to another. From calm to tense, in which metallic sounds mixed together offer a new dimension and color to the textures of sound.

09-10sose2936, 09-10sotb2889, 09-10sotc2901

SONIA LEBER / MELBOURNE, AUSTRALIA, 1959DAVID CHESWORTH / STROKE, UNITED KINGDOM,1958LIVES AND WORKS IN MELBOURNE, AUSTRALIAWWW.WAXSM.COM.AUWORK EXPOSED IN MADRID ABIERTO: REITERATIONS (ELIZABETH STREET)Sonia Leber and David Chesworth have collaborated since 1996, creating multi-channel sound and multimedia installations for a diverse range of arts and public spaces. A particular focus is the creation of ‘sonic event spaces’ in the public domain.

Public artworks include 5000 Calls, commissioned for Sydney Olympic Park (2000) and The Master's Voice, soundscape installation in Canberra, commissioned by ACT Public Art Program (2001).

Leber and Chesworth recently completed Proximities: local histories / global entanglements in collaboration with Simeon Nelson, a major built-in soundscape artwork to mark the 2006 Commonwealth Games in Melbourne.

Exhibitions include 5000 Calls, soundscape installation along Millennium Riverwalk, Cardiff, organised by Chapter Arts Centre, and 5000 Calls, soundscape installation along Shoemaker’s Footbridge, Ljubljana, organised by Cankarjev Dom Arts Centre (2003).

They were invited to create The Gordon Assumption for Melbourne International Festival of the Arts (2004). A video installation, The Persuaders, was commissioned for the Australian Centre for the Moving Image in Melbourne (2003).

Sonia Leber started focusing on the use of sound as a creative medium after more than a decade of working in film and video. Her films have been exhibited widely at film festivals and contemporary art spaces including Germany’s Oberhausen International Film Festival, Madrid Week of Experimental Cinema, the Aurora Australis tour of galleries in Canada, Museum of Contemporary Art in Sydney and Australian Perspecta at Art Gallery of New South Wales. In 1994, Leber curated the major sound art event Earwitness: Excursions in Sound for Melbourne’s Contemporary Music Events.

David Chesworth’s distinctive music compositions and sound installations have been performed and exhibited extensively around Australia as well as the Americas, Europe and Japan. Major festivals which have featured his work include Ars Electronica, Festival d’Automne de Paris, Edinburgh International Festival, Adelaide Festival, Sydney Biennale, SoundCulture, Brooklyn Academy of Music’s Next Wave Festival. Chesworth’s awards include a Churchill Fellowship and an honourable mention in Prix Ars Electronica.

07SOTD1471

 This piece is made of two individual sounds .The squeaking sound of the hinge of a door when closing slowly and the metallic sound of a Phillip Stark lemon squeezer being hit with a spoon. Thanks to possibilities enabled by software (fundamentally by Ableton Live 6.0) these two sounds have been processed with effects, loops, editions and partitions, until musical elements have been extracted: rhythms, melodies, bass lines, cushions, etc.

The inspiration for this piece is inevitably provided by the two Pierres, pioneers of concrete music: Schaeffer and Henry, but also keepers of this musical legacy such as Luc Ferrari or Francisco López, from these saviours of concrete music to more hedonistic results such as Matmos or Herbert and, of course, masters of modern electronic as Autreche or Pan sonic. The final aspiration of this piece is the sublimation of concrete music towards a more enjoyable result from a musical and melodious point of view, without having to bear in mind the conceptual element of the work, this is, the concrete origin of sounds.

To sum up; this piece may be enjoyed in two different ways: praising its essence as concrete music (lets not forget that the only sources of sound are a door and a squeezer) or, passing this by and concentrating only on the final result, enjoying what is heard by the ear and, not as much, what is suggested to the informed intellect, this is, a musical piece which is constructed with shocking textures, having an electronic aroma and with a relevant danceable element to it.

09-10sose2938, 09-10sotb2890, 09-10sotc2903

BOGOTÁ, 1955 LIVES AND WORKS IN: BOGOTÁWORK EXPOSED IN MADRID ABIERTO: POSTAL DENSA. POSTAL SONORA. MADRID-BOGOTÁAssociate professor, Music Conservatory, National University of Colombia; researcher and creator of electro-acoustic music and sonorous art. Invited to creation studios and festivals in Berlin, 2001; Vienna, 1992; Brussels, 1996; Montreal, 1996-1997; Winnipeg, 2004; Colombia, since 1988; Madrid, 1994, 1996 and 2000; Paris, 1994, 1997, 1998 and 2001; Lyon, 1998; Bourges, 1993-1994; Arras, 1996; Crest, 1996; Perpignan, 2001; Amsterdam, 2000; Mexico, 1999, 2006; Montevideo, 1993; Stanford, 2001 and Denton, 1999, 2001. Studied electroacoustic composition in Groupe de Recherches Musicales, GRM, in Paris, with François Bayle, Francis Dhomont, Jean-Claude Risset and Daniel Teruggi; and in Bogota with Stèphane Roy, Michel Zbar and John Chowning.

He has received the following prizes, 4th International Competition for Acousmatic Music Composition, Noroit 95, France; 1st Toy Showroom, Bogota 1996; National Creation Grant in Sonorous Art, Ministry of Culture 1996 and National Composition Prize, Ministry of Culture, 2003.

He has realised various sonorous installations, namely, in the Modern Art Museum of Bogota (1996), National University Art Museum (2004, 2003, 2002, 1998), Planetario Distrital (1995), Gilberto Alzate Foundation (1996) and National Exhibition of Artists (2006, 2005, 2004, 1992). Work published in Chodes-Bogotá, Institute of Pataphysical studies of La Candelaria, Spain and Colombia (2006); Music in the nineties. Art in the Nineties collection. Book and CD, Faculty of Arts. National University. Bogota (2004); National Prizes for Music in Composition, 10th edition of National Prizes for Culture (2003). CD, Ministry of Culture. Bogota (2004).  “Mind the Gap no. 43”, GC 049. The Netherlands, Belgium (2003); Parr(A)cousmatique. CD, empreintes DIGITALes. IMED 0264. Montreal, Canada (2002); en el sitio... Conjuntos del Conservatorio Collection. CD. National University. Music Conservatory. Bogota (2002); Bogota, sonorous landscape. 12 postcards and 5 silences. CD. Goethe Institut, Administrative Department for the Environment and Murciélago, Sonorous Museum. Bogota (2000); 33 years of Columbian Electroacoustic music. 1965-1998. Columbian Electroacoustic Community. CD, E.C.O. 01. Bogota (1998); 4 – Prix International Noroit 1995 de composition musicale acousmatique. CD, NOR 4. INA-GRM. Paris (96).

In 1998 he founded the sonorous museum ‘Murciélago’, dedicated to research, collection, conservation, creation and design of sonorous objects and landscapes.

07sotd1467

 The sounds of a tramway, the calls of the night watchman, the sound of music in the public space, bells, cars, these are some of the sounds that build up the aural memory of the Lavapiés neighborhood. A series of interviews arranged with people that were born or have lived in the neighborhood for a long period of time where the stepping stone to develop Lavapiés Chipén: Sonic memory of a neighborhood.

The field work that we have referred to above was intermingled with audio recordings, when possible, of the concrete sounds, events and/or places mentioned by those interviewed as well as others which were detected by the composers themselves (to these recordings, others, belonging to the www.madridsoundscape.org online project were added).

This current project was conceived while considering environmental sounds and the aural element as a highly valuable mode of representation and means to obtain knowledge.

09-10sose2939, 09-10sotb2891, 09-10sotc2905

CIUDAD DE LA HABANA, 1972 LIVES AND WORKS IN CIUDAD DE LA HABANA, CIUDAD DE ALAMARWWW.ALAMAREXPRESS.COMWORK EXPOSED IN MADRID ABIERTO: POEMA JAZZ (A CLARA GARI)Poet, writer, performance actor, graffiti artist and amateur musician.

His poems appear in several anthologies and alternative Cuban magazines.

He has two unpublished books: Canción para centro Habana, and Estados de Guerra.

He has participated in the creation, artistic direction, edition and creation of the CD-Book of the poetic-sonorous experimental Alamar Express, of OMNIZONAFRANCA, financed by the Spanish Embassy………..

He has participated in the National Hiphop Festival of Cuba (1999-2004).

He has presence and opinion in more than five documentary movies on the alternative Cuban culture, and a principal performance in the full-length film of fiction “La escritura y el desastre”, of Raydel Araoz.

He is co-creator of the poetic festival Poesía Sin Fin (1999-2006 City of Alamar).

He was awarded a prize in the experimental poetry competition in honour of Salvador Dalí, organised by the Spanish Embassy in Cuba. 2004

He has received the prize of literary investigation in the 2006 Summons of the Embassy of Spain in Cuba.

07sotd1465

 The recording is based on a quote written by avant-garde composer Erik Satie, taken from his collection of writings titled Memoirs of an Amnesiac. The full quote describes a typical day in his somewhat eccentric lifestyle. The text, spoken by the artist, is repeated eight times with every second word removed from each reading. This applies a reductive strategy to the text, where it gets progressively shortened until eventually only the first sentence remains. A feeling of dissonance is created, where the logical expression of language is disrupted, resulting in a mixture of sense and nonsense, seriousness and humour. The seemingly disconnected words are read at a steady pace in a monotone voice, where they function like the beat of a metronome, a device used to regulate the pace of music.

09-10sose2941, 09-10sotb2892, 09-10sotc2907

PAROLA, FINLAND, 1982 LIVES AND WORKS IN HELSINKIWWW.MYSPACE.COM/WALKABEATOFWALKABEATWORK EXPOSED IN MADRID ABIERTO: AM I WALKING   I have been making music for quite a long time and I am trying to mix up different kinds of rhythm music from reggae to hardcore punk. I use organic instruments as well as electronic equipment. Besides music I'm also very interested in making sound installations and compositions. I like the idea that I can manipulate ambience and sounds that are familiar and obvious to us.

EDUCATION·    Graduated from high school in 2001·    Studied radio work in Voionmaanopisto institute between 2003 and 2004·    Currently studying  sound design at the Theater academy of Finland, starting from fall 2005.

AWARDS·    In 2004, my sound composition 2*12 won the first price in the “Radiofestivaalit” Radio Festival, which is a national contest between sound and media oriented schools.

PROJECTS·    Phuzy: Sightseeing cd-ep (my band) published by a Finnish independent label Bad Vugum in 2003·    Theme music and a few sounds to following short films: Roseland, Mies oven edessä, Anima.

07sotd1463

 This audio collage mixes printing press rhythms and spoken word with interview scraps that would usually be edited out of a journalistic radio segment, including material that draws attention to the technical and interpersonal machinations of reporting. It's a behind-the-scenes view of journalism, which is a process of editing and selecting, rather than transmitting a complete record to the public.

09-10sose2942, 09-10sotb2893, 09-10sotc2909

ELDAD TSABARYPETACH TIQVA, ISRAEL, 1969 LIVES AND WORKS IN MONTREALWWW.YAELDAD.COMWORK EXPOSED IN MADRID ABIERTO: BENDICHO JUEZ DE LA VERDADEldad Tsabary is a Montréal based composer and sound artist whose music is inspired by the concepts of sound-mass, metamorphosis, and constant motion. His works have been played at Carnegie Hall, CCRMA, and ISCM among others and performed by The Bulgarian Philharmonic, Silvie Jensen, the Cygnus Ensemble, Haim Avitsur, and others.  He is the winner of several prizes, including the Harbourfront Centre New Canadian Sound Work 2006 and a third prize at ZKM’s competition Shortcuts:Beauty 2006.  Eldad is a professor of electronic art-music at Concordia University in Montréal and an Artist Mentor for the MFA in New Media Program of the Transart Institute (Krems, Austria).  His music has been released on ERMMedia, Capstone Records, New Adventures in Sound Art and JAZZIS among others and published by Editions BIM (Switzerland). He studied composition under David Loeb, David Del Tredici, David Olan, and Tim Brady and theory under Carl Schachter, Philip Rupprecht and Philip Lambert.

EDUCATIONHe studied composition under David Loeb, David Del Tredici, David Olan, and Tim Brady and theory under Carl Schachter, Philip Rupprecht and Philip Lambert.

EXHIBITIONS (selections)·    His works have been played at: Carnegie Hall; CCRMA; ISCM ·    Performed by: The Bulgarian Philharmonic; Silvie JensenT; The Cygnus Ensemble; Haim Avitsur

AWARDS2006    ·    Harbourfront Centre New Canadian Sound Work ·    Third prize at ZKM’s competition Shortcuts:Beauty 2006

OTHER·    Professor of electronic art-music at Concordia University in Montréal Artist Mentor for the MFA in New Media Program of the Transart Institute (Krems, Austria).

RELEASED MUSIC (selection)·    ERMMedia ·    Capstone Records·    New Adventures in Sound Art·    JAZZIS

PUBLISHED MUSIC·    Editions BIM (Switzerland)

07sotd1459, 07sotd1461

Format: AIFF 16 bits

 In early July, the saxophonist Stéphan Rives came from his home in Beirut to record with the artists at his studio in Madrid. When they were about to listen to the result, a truck stopped in front of his window and its occupants started to open up the street with a pneumatic hammer. It was impossible to listen to the music, so he took his portable recording system and went out in the street to record the roar of something that has become distinctive of this town and court: the public works.

In one occasion, Leo Steinberg talked about Robert Rauschenberg saying that he had “invented, most of all… a pictorial landscape that opened up, once again, the doors of the world, not those of the Renaissance man that tries to find out the weather by peeping out the window, but the world of men who turn buttons around to listen to a recorded message, “ten per cent of probability of rainfall tonight”, an electronic transmission coming out of some cabin without windows”.

In this present piece, a product of so much peeping out the window and turning buttons around, the artist exclusively work with the sounds I recorded on that hot day of July in front of his studio, manipulating them, altering them, rearranging them, putting them out of their original context, and, in general, exposing them to a series of techniques to create a work made out of sounds of work. It is a “piece conceived as the image of an image”, as Steinberg said about Warhol’s work. Because the sounds assume their identity not only as the noises of public works, but as recorded sounds, used in a “manner that will assure it won’t just be the direct presentation of a world space, but will admit any experience as material for representation”.

09-10sose2943, 09-10sotb2894, 09-10sotc2911

MADRID, 1967 LIVES AND WORKS IN SEATTLE, USA WWW.DWHALSELL.COMWORK EXPOSED IN MADRID ABIERTO: FUNKENSPIEL 

David Halsell is a multimedia artist who has periodically worked with sound for two decades. While primarily interested in the nature and development of our consciousness in his installations and video, questions regarding the mutable definitions of noise become central with his audio work. Currently, Halsell is an MFA candidate in interdisciplinary art at Carnegie Mellon University.

EDUCATION2007    ·    MFA. Interdisciplinary Art, Carnegie Mellon University.2004    ·    BFA. Sculpture University of Washington (cum laude).

SOLO EXHIBITIONS2006        ·    Undergrowth, UC Gallery, Carnegie Mellon, Pittsburgh, USA.·    Resurgency, Fe Gallery, Pittsburgh, USA.

GROUP EXHIBITIONS, SCREENINGS & PRFORMANCES   2007        .       Madrid Abierto 2007, Madrid, Spain.

2006    ·    Digital Art Weeks 2006, ETH Zürich (Swiss Federal Institute of Technology),           Zürich, Switzerland.·    Showing Signs of Life, Future Tenant Gallery, Pittsburgh, USA.·    Spark Festival of Electronic Music and Art, University of Minnesota, Minneapolis, USA.

2005    ·    Control Acoustics, Zeppelin 2005 Sound Projects Festival, Centre de Cultura Contemporànea de Barcelona, Barcelona, Spain.·    Vaguely Positive, Future Tenant Gallery, Pittsburgh, USA.·    inkJet, Artist Image Resource, Pittsburgh, USA.

2004        ·    BFA Thesis Show, Jacob Lawrence Gallery, Seattle, USA.

2003         ·    Redmond Outdoor Sculpture Exhibit, Redmond, USA.·    Spheres: The 2003 UW Summer Arts Festival, Seattle, USA.·    11 Artists-11 Digital Videos, Jewelbox Theater, Seattle, USA.·    Finding Patterns In Chaos, Mohala Arts Gallery, Seattle, USA.

2002        ·    Surveillance, Richard Hugo House, Seattle, USA.·    NewMusicWest Festival, Vancouver, B.C., Canada.

PUBLICATIONS·    “Autopoiesis: Science and Systems in Technological Art,” a minima, no.13, 2005, 132-7.·    “Autopoiesis,” NY Arts, Vol.11, no. 3/4, 2006, 77.

BIBLIOGRAPHY·    Kurt Shaw, “Lawrenceville Crawl,” Pittsburgh Tribune-Review, July 13, 2006, TicketSection, 15.

07sotd1457

Format: WAV.-FILE (stereo, 44kHZ) / Year: 2005 / Place of audio recording: Ghent and BrusselsVoiceovers: Tourists: American, British, French, Spanish, Portuguese, Dutch (Belgium + Holland), Danish, Swedish, Russian, Slovenian, Japanese, Chinese, German, Italian, etc...

 These days, reflections on the future generally dwell on a commercial or global economic context. The extent to which various cities present themselves, on an innovative and globally competitive scale, on the Internet via PowerPoint presentations serves to illustrate this statement.

The starting point in Insert the name of the city (here) is the fact that each of these PowerPoint presentations consists of the same topics and structure (slogan + standard background + logo). The tourism and city marketing sector uses the same worn-out phrases all over the world to speak about the qualities and advantages of cities.

In the sound work the apparently naive and utmost dogmatic technique becomes even more dubious as the catch phrases of the compiled PowerPoint presentation are being read aloud by a series of tourists. As the pages of this compiled presentation stay behind, this sound work also focuses on the feeling of doubt and uncertainty that surrounds these ‘interpreting’ voices.

09-10sose2945, 09-10sotb2895, 09-10sotc2913

 Year: 2005 / Format:  CD audio

My sonorous work is called Am I walking. The idea is simple. I took an md-player and a stereo microphone with me to have a walk. For about 45 minutes, I wandered around the city of Tampere and recorded everything. Afterwards, I listened to my trip and was amazed how many unidentifiable and obscure sounds there were. Removing a sound or an ambience from its context is revealing: even sounds that are perceived as routine or even banal have a surprising and an interesting side. When I listened to the recording, I noticed lots of interesting sounds, almost like drum beats and instruments playing, so I decided to make music with those sounds (cars, people, sliding doors etc.). The main idea was to create scenarios where everyday sounds begin to turn into music. Street beats. I came up with three beats and put them together. So every sound that you hear on Am I walking are from that 45 minute walkabout, from the moment I shut my door to the moment I came back.

I used a minidisc recorder and a stereo microphone to record the whole thing. After that I used Boss br-1180 ten track hard disc recorder and a Boss sp 505 sampler to bring the whole thing together. I tried to keep the sounds quite original and avoided unnecessary effects and processing. Am I walking is a very interesting description of everyday sounds when they start taking over your brains!

07sotb1433, 07sotc1444, 07sose1478

MAASTRICHT, NETHERLANDS, 1965LIVES AND WORKS IN: MAASTRICHTWWW.PAULDEVENS.COMWORK EXPOSED IN MADRID ABIERTO: ALKALINE

SOLO EXHIBITIONS2006· ”Testing Ground”, Power Plays. Curated by Ive Stevenheijdens. Kunstencentrum België, Hasselt (B). “Latitude” Screening 5.1 surround / video at Lumiere Cinema Maastricht and OSC//8, Geneva. In coop with 10:21 AM.· ISP, Office for Contemporary Art, Oslo, curated by Christiane Erharter and Ute Meta Bauer.· Experimental Intermedia, Gent, B.· Luxus artfoundation, Den Haag.· Bonnefantenmuseum Maastricht.· Lokaal 01, Breda, NL, curated by Ad van Roosmalen.· De Bank, artfoundation, Enschede, NL.· Bonnefantenmuseum, Maastricht.· Magasin, cnac, Grenoble, F, curated by Jean Pierre Simon and Adeline von Fuerstenberg.· Apollohuis, Eindhoven, NL, curated by Paul Panhuysen· Provinciaal Museum, Hasselt, B.

GROUP EXHIBITIONS2007·    coming up: Hikikomori. Set & sound design and soundtrack to a choreography by Thomas Devens. Various international theaters.·    Nitrianski Galéria, Nitra, Slovakia and Budapest, Hungary·    Jan van Eyck Akademie, Maastricht.·    Klein Art works, Chicago, curated by Marlena Novak / Jay Allen Jim.·    Neuer Aachener Kunstverein, Aachen, D.·    Hedah artfoundation, Maastricht·    Arti et Amicitiae, Amsterdam.·    Global Attic Festival", Rotterdam.·    Fonds BKVB, Amsterdam, curated by Moniek Toebosch.·    Duende artfoundation, Rotterdam, Curated by William Engelen.·    W139, Amsterdam, curated by Theo Tegelaers.·    Technical University, Architecturedept., Einhoven, NL.·    Landbouwbelang, Maastricht, Curated by Johan Deumens.·    ICA, Amsterdam.

SOLO CONCERTS AND EVENTS·    Experimental Intermedia, New York. Curated by Phill Niblock.”OSC//8” Geneva, Switzerland.·    Zeppelin, Sonoscop, Barcelona, “Acoustics of control”.·    Zeppelin, Sonoscop, Barcelona, “On Agreement and Conflicts”.·    Babylon, Istanbul·    Lokaal 01, Breda, NL.·    Le Confort Moderne, Poitiers, F.·    Global Attic Festival" Rotterdam.·    Doornroosje, Nijmegen, Baudelopark, Gent, Boulevard, Den Bosch and Winterslag, Genk.

RELEASES2006·    “ctrl_alt_del” DVD production and curation, two soundpieces and a movie. ·    Free issue with Gonzo Circus magazine. ·    “Latitude” DVD-r edition, wrapped in full-color poster.

2005·    “Gunpop” CD-R.  “Mozart 249” compilation DVD (-not distributed). ·    CD / DVD “Gold Extra: Sightclub” Tallin, Maastricht, Salzburg.

2004·    “Kvikklunsj” CD-R.contribution to cd “Oddpop”.

2003·    production and soundpiece for CD “ctrl-alt-del”.

2002·    Contribution to compilation-CD "Music for difficult people" by Mangenerated, Moortsel, B.·    2001Solo audio cd/ cd-rom "DJ Lait Russe", private release.

2000·    "Dralt" audio cd. Cooperation with Los DQ.Contribution to "Trace", an audio cd by the John Moore University, Liverpool.

1999·    Contribution to "Hope", an audio cd by Scanner and the John Moore University, Liverpool.

1998·    "Hedah 500 rpm", audio cd. production, participation and curation.·    "Model (book)" fc book and audio cd. private release with texts from Mique Eggermont, Ranti Tjan, Frans Budé and Anna Hakkens.

1996·    "Models" audiocassette, release by De Bank, Enschede.

1994·    "Belt 3" Folder and audio cd. release by the city of Grenoble, le Magasin and l'Ecole des Beaux Arts, Grenoble

1992·    "Signs Signals Tunes", audio cd. Released by the Jan van Eyck Akademie, Maastricht

PUBLIC COMMISSIONS2002·    "Food 2" Amstenraderveld, Brunssum, NL.2000·    "Moped" Universiteit Maastricht.1997·    "Cone 8" Business and Sciencepark, Enschede, NL.

WEB2004·    www.pauldevens.nl·    www.mobilegaze.com .·    www.heteeuwigelichaam.nl·    www.parkstadlimburgprijs.nl·    www.listen.to/aikitwifwirikia·    www.project-ctrl-alt-del.com·    www.wssohwte.net  ·    www.limburg.be/ z33 etc.

COLLECTIONS·    Bonnefantenmuseum Maastricht AZM, ·    Academic Hospital Artcollection Maastricht·    DSM Artcollection, Sittard, NL.·    Jan van Eyck Academy Artcollection, ·    MaastrichtSNS Bank, Heerlen, NL. ·    Centraal Museum Utrecht –Amelisweert.·    Ranti Tjan / Caroline Berkenbosch.·    Various private collectors

COLLECTIVE EVENTS·    (Los DQ; pop-based Art Group with Paul Devens 1999 - 2002)·    www.cuci.nl/~god·    Presentation "Dralt" at Hedah and bar De Witte Ballons.·    Openings concert Kunstverein Monchengladbach, D.

1999·    Openingsconcert exhibition finals HISK, Antwerp, B."artists on the move" Poitiers, Fr.·    "European culture tourist" CNN.·    "Niet de Kunstvlaai" Westergasfabriek, Amsterdam. Concert.

SIDE ACTIVITIES2006·    Researcher / advisor lectorship “autonomy and public domain” Hogeschool Zuyd, Maastricht. ·    “Something about Wapke” soundtrack to a video by Anne Lise Stenseth, RAM Galeriet, Oslo.

2005·    “You Don’t Love Me Yet” project Johanna Billing. ·    Soundpiece with Ramzy Oulad (MC Ramses). Performance Veenfabriek, Leiden (NL).

2004·    lecture “Atelier Nord” Oslo.lecture Northwestern University, music department, Chicago, Ill. ·    soundtrack to video “Winner” Marianne Heier, Sørlandets Art Museum, Kristiansand.

2002–2003·    two soundtracks to stopmotion movies Manon Bovenkerk.

2002·    ”Soundlab” artstudents ABK Maastricht working in public on soundart at Museum Het Domein, Sittard with lectures of Natasa Petersin, Jay Allen Yim and Marlena Novak, Jens Brand, Guy van Belle. ·    "Leefbaar Hedah" workshop with artstudents ABK Maastricht at the Hedah foundation.

2001·    Projectteacher at the ABK Maastricht (Akademy for fine arts) up to now.·    Committeemember of the foundation for Fine Art, Design and Architecture, Amsterdam.Lecture ·    "Cafe Sonore" CEM foundation Amsterdam.Lecture "Cafe Sonore", CEM. Location: Den Bosch.·    "H5" book and cd-rom release by Hedah. Cooperation in concept and design. 2000·    Design cd rom "Parkstad prijs 2000" in cooperation with Bert van den Bosch.

1999·    Lecture and workshop ABK Maastricht.

1996·    Lecture ABK Maastricht.

1995·    co-foundation and co-programming Hedah foundation. Up to 1998.

1994·    Lecture at the Ecole des Beaux Arts, Grenoble.

1993·    Lecture at the AKI, Fine Arts Academy, Enschede.

GRANTS AND AWARDS1989·    Henriette Hustinxprijs, academyprize for outstanding finals.

1991·    Startersgrant, Foundation for Fine Arts, Design and Architecture (BKVB).

1994·    Ina van Doormaelbeurs, grant for projects abroad, Prins Bernhardfonds.Grant Pepinieres Europeennes pour Jeunes Artistes.1996Landgraafprijs, prize for young artists.

1997·    and 2001Grant for artpractice (werkbeurs), Foundation for Fine Arts, Design and Architecture (BKVB).

1994·    1998 and 2003Elementary grant for artpractice (basisstipendium), Foundation for Fine Arts, Design and Architecture (BKVB).

07sotd1469

FORMAT: LOOP/ CD I YEAR: 2005-2007

 ‘"The end result of complete cellular representation is cancer"William S. Burroughs Naked Lunch 134

hair+spit v1.0 is a war broadcast. It is first piece taken from over 17 hours of actual sound recordings of chemotherapy treatment. The sound of the drugs, blood transfusions, hydration treatments and food supplements entering the body.

In the summer of 2005, I sat beside my son, Piers, in Ward 10. He had cancer. These are moments of complete helplessness; you are not part of the rest of the world. You feel lonely in the realisation he is lonely; you are always alone in great pain wherever that pain originates and for nearly two months he hardly spoke or smiled. He has now fully recovered.

Chemotherapy is a form of warfare; a well planned and sustained war of attrition against any abnormal and uncontrolled cell division causing cancerous tumours. Like any successful battle plan it requires meticulous planning, execution and of course, luck. Like any war, there are many casualties suffered other than intended targets. Collateral damage within the body is widespread. Severely reduced is the hair and saliva production within the body due to the destruction of those dividing cells; it decimates the immune system.

In a small totally blacked out space, an immersive sonic environment, I want to put the audience somewhere in the position I was; in a children’s oncology ward in the dead of night with the faint sound of the infusion pump which had the unsettling psychological effect of slowly increasing in volume until it was all I could hear. This is, in media terms, within the realm of a war broadcast, a ‘scaling up’ as opposed to obvious ‘scaling down’ effect we normally experience.

hair+spit v1.0 is both a real document and an artistic corporeal investigation through a lonely virulent sound of mutation and war.

08sotc2097-08sose2138-08sotb3366