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May Virtual Program
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Arpas eólicas: la presencia póstuma del sonido (Aeolian harps: the posthumous presence of sound) • Ce Pams
2 min 12 sec
Synopsis
Three pieces of native Nothofagus wood (Magellanic trees) were collected from the territory of Puerto Yartou in Tierra del Fuego, Patagonia of Chile. These wind-bent woods, vestiges of history and the passage of time, have been turned into aeolian harps with a tensioner and a contact microphone, thus recording the sound of the Patagonian wind, the infinite and hypnotic voice that sings the wind, without beginning or end.
Driven by the questions: What does a territory sounds like? what is its sonorous idiolect? where do sounds sound once they stop vibrating on the earthly plane? All questions that point to the extinction of a culture and its sonic imprint on the community. Once a culture is extinguished, do its sonorities disappear with it? These questions open the way to a search for a sonorous imaginary and question the paradox embedded in sound archaeology, since archaeology investigates tangible material remains, proper to matter, so research into extinct sounds becomes difficult and the possibility of finding sonorous fossils is far from reality.
'Aeolian harps: the posthumous presence of sound', is a sound installation that brings to the present the vibration of the resonant wind of the southern tip of Chile. By means of a vibrating loudspeaker that affects the taut cable in each piece, the wind harps resound again through the memory of the archive recorded in them, singing what these sculptures of time once sang in their own Fuegian territory.
Artist Bio
Audiovisual and sound artist. Her sound research is spontaneous, experimental and explorative, rescuing the sound of everyday objects and disused materials, with an emphasis on natural elements such as wind and water as autonomous systems that interact with technological processes and human beings.
Her diverse and versatile work experience has led her to work as a video editor in television and advertising projects, to direct music video, art videos, develop dome projections, real time visuals for music bands, installations and sound performances, among others.
She has shown her work at 15 Media Art Biennal of Santiago the Chile in Contemporary Art Museum, she has participated in art residencies at the Tsonami Sound Art Festival in Valparaíso, CAB Patagonia in Tierra del Fuego, Platohedro in Medellín, Colombia, Hacklab at the CTM Festival in Berlin, Contemporary Art Festival in Chachapoyas, Peru and Festival Pacífico in Lima. She has performed live with sound performances in different places such as El Paradero Cultural and Casa Bagre in Lima; Espacio O, Club Social de Artistas, Bar Uno, Café Colmado, Centro Cultural Perrera Arte, Persa Víctor Manuel in Santiago; Casaplan and Sala B.A.S.E. de Tsonami in Valparaíso; Escuela de la Paz and Umbral in Mexico City, among others.
Spirit of the Magpie • Alice Cohen
25 min 55 sec
Synopsis
Known to be scavengers with a love for collecting shiny objects, magpies will often steal rings and other glittering jewelry that have been left on windowsills. They have much lore connected to them, and are sometimes regarded as bearers of ill omen, as well as being associated with the devil. There are rituals, poems and salutations to the magpie, to ward off their devilish influence. They are also the only bird species—and one of only a few animal species—that can recognize their own reflection in a mirror.
When we search sidewalks or junk shops for hidden treasures, we are embodying the magical soul of the magpie. This attraction to forgotten ephemera. . . antiquated inks on rotting papers. . . old crackling records and musty cassettes. . . falls into the realm of the magpie as spirit guide, as we rescue lost remnants from a world that perpetually erases the past, while becoming increasingly stark and sanitized. The mirrored reflection of the magpie becomes a liminal space for shapeshifting identities through the transformational use of found and rescued objects, images and sounds.
Artist Bio
Alice Cohen is an animator and musician living in Brooklyn, NY. She has composed and released recordings over many years in a wide variety of contexts including New Wave band The Vels, Die Monster Die in the 90s, and more experimental solo work in recent yearsl. Her visual work is informed by her musical history as well as an ongoing interest in mystical and metaphysical worlds. Drawn to the colors and printing techniques of bygone eras, Cohen has incorporated these elements into her current animation work, recycling found imagery from old books and magazines to create surreal dreamscapes. In addition to dozens of music videos created for bands, her animation work has been shown in screenings, galleries and museums, including Microscope Gallery, The New Museum, Filmmaker’s Coop, Anthology Film Archives, LA Film Forum, and the Palace of Culture and Science in Warsaw, Poland.
Arpas eólicas: la presencia póstuma del sonido (Aeolian harps: the posthumous presence of sound) • Ce Pams
1 min 57 sec
Synopsis
Three pieces of native Nothofagus wood (Magellanic trees) were collected from the territory of Puerto Yartou in Tierra del Fuego, Patagonia of Chile. These wind-bent woods, vestiges of history and the passage of time, have been turned into aeolian harps with a tensioner and a contact microphone, thus recording the sound of the Patagonian wind, the infinite and hypnotic voice that sings the wind, without beginning or end.
Driven by the questions: What does a territory sounds like? what is its sonorous idiolect? where do sounds sound once they stop vibrating on the earthly plane? All questions that point to the extinction of a culture and its sonic imprint on the community. Once a culture is extinguished, do its sonorities disappear with it? These questions open the way to a search for a sonorous imaginary and question the paradox embedded in sound archaeology, since archaeology investigates tangible material remains, proper to matter, so research into extinct sounds becomes difficult and the possibility of finding sonorous fossils is far from reality.
'Aeolian harps: the posthumous presence of sound', is a sound installation that brings to the present the vibration of the resonant wind of the southern tip of Chile. By means of a vibrating loudspeaker that affects the taut cable in each piece, the wind harps resound again through the memory of the archive recorded in them, singing what these sculptures of time once sang in their own Fuegian territory.
Artist Bio
Audiovisual and sound artist. Her sound research is spontaneous, experimental and explorative, rescuing the sound of everyday objects and disused materials, with an emphasis on natural elements such as wind and water as autonomous systems that interact with technological processes and human beings.
Her diverse and versatile work experience has led her to work as a video editor in television and advertising projects, to direct music video, art videos, develop dome projections, real time visuals for music bands, installations and sound performances, among others.
She has shown her work at 15 Media Art Biennal of Santiago the Chile in Contemporary Art Museum, she has participated in art residencies at the Tsonami Sound Art Festival in Valparaíso, CAB Patagonia in Tierra del Fuego, Platohedro in Medellín, Colombia, Hacklab at the CTM Festival in Berlin, Contemporary Art Festival in Chachapoyas, Peru and Festival Pacífico in Lima. She has performed live with sound performances in different places such as El Paradero Cultural and Casa Bagre in Lima; Espacio O, Club Social de Artistas, Bar Uno, Café Colmado, Centro Cultural Perrera Arte, Persa Víctor Manuel in Santiago; Casaplan and Sala B.A.S.E. de Tsonami in Valparaíso; Escuela de la Paz and Umbral in Mexico City, among others.
Leave Your Body • Natasha Cantwell
4 min 6 sec