LISTEN WITH YOUR EYES. SOUNDS ART IN SPAIN, 1961-2016

Ramón González-Arroyo, L'isla des Neumas, 2007. Sound installation at the Fundación Juan March Museum, Palma. Collection of the artist. Photo: Xisco Bonnín / Fundación Juan March Archive

 

 

The face B of contemporary art is noted with the compilation sample of Sound art of the foundation Juan March (Madrid), this set was already exhibited in the Juan March Foundation Museum of Palma de Mallorca (February 10 - May 21) and In the Museum of Spanish Abstract Art of Cuenca (June 16 - September 18). These artistic practices have been gaining support through exhibitions in museums and monographic exhibitions, as well as their presence in reasoned catalogs and the elaboration of specialized bibliography.

 

The curators, José Iges and José Luis Maire have chosen more than 400 works to articulate this particular discourse. As a blank sheet, sound art up to the 60s had no place in the Spanish artistic panorama and even until the 70s was not found the relevant documentation to catalog it as artistic practice. In this exhibition, they give a nod to the story that has not been resorted to and give it the importance it deserves.

 

 

 

Photo of the exhibition

 

 

The characteristic of such exposure is the homogeneity with which it has been treated. The most common when projecting an exhibition of these characteristics is to isolate each work of the group to endow it with a unitary meaning and not contaminate the acoustic space. That sense of exclusivity and evasion has been shaped in "Listening with the eyes". Here they have preferred that these works share space with those of the permanent collection and have articulated a discourse that not only highlights our auditory sense, but also the visual one. This action gives the static work a certain dynamism that makes its reading can be interpreted with another language.

 

Photo of the exhibition

 

 

They have also taken into account the architectural structure of the spaces, thus integrating works that endow the space with a significant character that only the audiovisual can foster. The view is a very powerful sense and with this sample aims to give voice to what the eye is not accustomed, form a binomial and break the limits of space.


Technological obsolescence and collective memory are very definite themes in the character of the show, this anachronistic challenge, has been articulated in a chronological way, beginning with the pioneer artists of the 60s, vinyls as standard of the Sound Art. There are not only samples In the exhibition of Madrid, have integrated with these pieces files and objects relating to the pieces creating a signed statement of the trajectory of said practice.
 

 

 

Mikel Arce, * .WAV, 2004. Sound installation at the Juan March Foundation Museum, Palma. Collection of the artist. Photo: Xisco Bonnín / Fundación Juan March Archive

 

 


Until the 21 of January you can visit her in the Foundation March, Madrid. An obligatory stop for all those who love the sensory and the eccentric. An appointment with what has never been forgotten and now is being given voice. If you are looking for an alternative to what is stipulated this is your exhibition.

 

 

 

 

 

 

Thirteen years have passed since its beginnings, and in all this time the Video Art Festival PROYECTOR has grown and consolidated its position as an essential event in this discipline. Since its inception, the initiative has tried to give visibility to a discipline that has always been relegated to the background in the usual exhibition circuits. Although video creation is not new, since it emerged by its own in the 60s of last century, the way to get to know it and enjoy it has not always been easy. On many occasions, the exhibitions only included a few isolated pieces within the main route, as if the video was the anecdotal contribution to the whole. However, our daily lives are invaded by moving images, and there is a paradox that video art, despite being a format of artistic expression very much in tune with the habits of today's society, remains a minority discipline

Frame from “Hel City”, by Gregorio Méndez Sáez, 2019

To some extent, PROYECTOR was born to reverse this situation, to value video as a creative format and to offer a wide, itinerant space to host a multitude of proposals, coming from inside and outside our borders. In this time, the growth of the festival has led it to travel the world, but also, to be a benchmark that each year arouses more interest. In the open call to receive proposals, they reach almost half a thousand, and a hundred works selected by the jury are a representative sample of different ways of understanding video creation, with pieces mainly from Europe, Latin America, Southeast Asia and the Middle East.

In turn, PROYECTOR wants to be more than a video showcase and offers a large program with talks, workshops, masterclasses, meetings with artists, visits and concerts. A complete experience that always has the moving image as a backdrop.

El Instante Francisco Ruiz de Infante. El bosque que se mueve (errores de medida)

In this evolution, another circumstance stands out: video is a creative format that has its own codes, but it is also one of the disciplines most open to artistic hybridization and the widening of uses. The video may, therefore, be the genuine idea of an author who conceives an autonomous project to be carried out in this format, but it can also be the complementary result of an action or the documentary record of a previous performance being recorded to guarantee its survival. The versatility of the moving image and the potential that it has acquired in recent years allows us today to speak of numerous branches of art that focus on the fusion of languages and the integration of techniques and methodologies from other sectors, and in many of them, the video is still a cornerstone. So it is with technological art, interactive sound art, performance recording, the transformation from big data to image, artificial intelligence, and a long etcetera. Precisely for this reason, PROYECTOR offers a panoramic vision of this reality, with an extremely interesting program that plays with the variety and wealth of proposals.

Frame from “Herdança”, by Thiago Rocha Pitta, 2007

The 2020 edition will run from September 9th to 20th. As usual, the program displays in various venues throughout the city of Madrid, each of which will house a small section of the activities. This year the festival will count with the collaboration of the Casa Árabe, White Lab, Cruce, El Instante Fundación, ¡ésta es una PLAZA!, Extensión AVAM (Matadero Madrid), Institut Français de Madrid, Medialab Prado, Quinta del Sordo, Sala Alcalá 31, Sala El Águila, Secuencia de Inútiles and White Lab, in addition to the collaboration of the INELCOM Collection and the video art collection of Teresa Sapey.

The festival is also the ideal place to articulate the cultural fabric, since it involves numerous professionals in the sector, from curators to creators, from centres managers to critics and teachers. The 2020 program also has the collaboration of the FUSO Festival and the Museo Reina Sofía, which are providing some of their pieces for the exhibition.

In short, an appointment that lovers of contemporary art should not miss and that promises many novelties in this 13th edition.