AVLAB SPECIAL: Musical Evening

As an opening we will have the presentation of the book La mosca tras la oreja. De la música experimental al arte sonoro en España, by Llorenç Barber and Montserrat Palacios. Meanwhile, other noises will start playing: the electric guitar on top of the vibrating table of the versatile Ferrer-Molina, tuba sounds by the improviser and performer Jesús Jara, electronic cello music by Arantxa Hernández… about ten musicians, artists and performers will participate in this special "sarao" of the AVLAB Meetings ccoordinated by Miguel Álvarez-Fernández. Free admission.

Curated and presented by Miguel Álvarez-Fernández. Miguel is a musician, Bachelor in Laws from the University Complutense of Madrid and a member of the Hispani Association for the Study of Gregorian Chant (A.His.E.C.Gre.). Every Friday at noon he presents the “Ars Sonora” radio show at the Classic Radio Channel of the National Radio of Spain (www.arssonora.es). For more information: www.miguelalvarez.es.tt

 

PROGRAM

· Llorenç Barber and Montserrat Palacios: Death to the flit

Sound action, followed by a round table around the book La mosca tras la oreja. De la música experimental al arte sonoro, by Llorenç Barber and Montserrat Palacios.

· Ferrer-Molina: Electric guitar on top of a vibrating table and Toys with no batteries Orchestra (with Ana Rodrigo, dancer)

Electric guitar on top of a vibrating table: On top of a helicopter-like vibrating table there is an electric guitar with six strings tunned by semitones, face down. One can either leaving playing alone or manipulate it as a musical instrument.

Toys with no Batteries Orchestra: A sound speech using toys running out of batteries. The visual part is both a choreography created by dancer Ana Rodrigo around the idea of "toy-puppet-dead batteries" and a simultaneos projection of a short film by Ferrer-Molina also created for this occasion.

· Name Over

What does a pop band like this have to do in an event like this?

Name Over is formed by Daniel Poza (voice and keyboard), Manuel Tena (guitar and voice), Pablo Suárez (bass), and Adrián Kirpal (drums). To figure out how they sound, just mix classic rock, funk, pop, disco music and heavy of the eighties in its most epic version. This eclepticism is the logic consecuence of those discordant personalities and changing moods of its four elements.

· Jesús Jara

"... I understand free improvisation as a possibility to move in a sound space-time which doesn't belong to us, even if we modify it with our simple presence. (...) The result will be a changing sound atmosphere without any pre-defined formal articulation which allows the listener to freely design his own auditory tour. The listener even can come to conclusions, but don't forget that those conclussions are generated by the listener itself and that there is no intention of presenting any idea nor doctrine (...)."

· c.ch.d.p: Glutamato

GLUTAMATO is direct communication. Through a series of actions that could seem unconnected, the actor-performer Carlos Chacón del Pino (c.ch.d.p) reflects about a society, our society, that has declared war to all those things that doesn't look natural. (...)

· Rubén Gutiérrez del Castillo: One afternoon in July

This work is an excuse to play with some basic materials (water, air, wood) and, with the aid of the electronics (physics, after all) turn them into a ambiguous sound context. With this trip we pretend to give back what belongs to nature: cycles and different lenghts that coexist beyond human control. (...)

· PROYECTO 23

PROYECTO 23 is an initiative of sound and stage experimentation based in choral chant. The origin is ancient occidental vocal music. It starts with a XV century anonimous madrigal. PROYECTO 23 is an event that articulates different pieces, but also a group of 7 people: 6 singers and something else. They are 7. And they are conscious of the scenic poorness of this ceremony. Therefore, their aim is to go beyond and use all its meanings with a conceptual intention. Then you can synthetize all the author's intellectual concerns: ancient music, chance, sarcasm, phonetic poetry, improvisation, musical graphic design, humor, japanese handwriting, action, sound and old technologies. It would sound pretencious is the idea was not to avoid any kind of virtuosism. PROYECTO 23 is quite simple. Even a kid could do it. Even a kid should do it.

 

Arantxa Hernández

Sound object. Improvisation as an interaction with the surroundings: adding music to an image, a situation, a room; getting to know someone through his improvisations. Answering.

Arantxa Hernández. Classical cello player, she has participated in different New Music and Improvisation festivals such as Performatori (Valencia, 1996), In Globo (León, 1997), I Festival Internacional Gaudí de Improvisación (León 2002).

She has worked in the composition and performace of theater and movie soundtracks: “El Cuervo” by “Polimnia Teatro” theater company, directed by Pepe Mieres and premiered in Mieres in 2001, and the short film “Foto” by Janis Ozolins Ozols, Festival Internacional de cine de Riga 2000. (Premiere in Spain: Círculo de Bellas Artes, Madrid 2004.

In the past few years she has combined her live performaces (scoring silent movies live with piano player Arsenio Martins, performing in Guggenheim Museum Bilbao, Spanish Filmoteca, Goethe Institute Madrid, Muces Festival in Segovia, Lugo's international author cinema week , etc.) and her membership in the Las Larvas collective, programming activities in cultural institutions suchs as Da2 Museum in Salamanca, Espacio Líquido Gijón Art Gallery of Laboral in Gijón.

Argenis Salazar: El hijo de la túta

En mi afán de presentar y re-crear los conceptos que Emmanuel Lévinas despliega en todo su discurso filosófico —unido a una larga tradición unto a Heidegger, Michel Foucault o Jacques Derrida—, en “EL HIJO DE LA TÚTA” (planteada como propuesta de intervención en espacios públicos) se aborda el tema del “OTRO”, de la alteridad, de la diferencia, del extraño, del inesperado. “EL HIJO DE LA TÚTA” está conformada por un personaje único, extraño, exótico, “totalmente otro”, inesperado. La puesta en escena muy simple: “EL HIJO DE LA TÚTA” recorrerá las instalaciones de la sala con un carro de los aeropuertos (trolley), vistiendo un chaleco reflectante y llevando como equipaje un pequeño grabador o teléfono móvil, donde en forma de loop sonará la cumbia colombiana “El hijo de tuta”. Dentro del carro, “El hijo de la túta” llevará como maletas un número de ejemplares de mi recién publicado libro “Equijotaciones”, los cuales ofrecerá a la venta al público presente.