El MUNTREF Arte y Naturaleza me invitó a realizar una intervención de la muestra «La eterna novedad del mundo» de Larry Muñoz. Para ello, diseñé una instalación sonora en sus salas y una performance partiendo de los materiales y gestos que utilizó el artista para la exhibición. La acción se llevó a cabo del 14 de julio de 2018.
1) Reventar una piñata llena con 500 cascabeles
2) Reventar una piñata llena con 600 estallos
Buenos Aires, julio de 2016
The work is based in a series of guerrilla interventions, both individual and collective, in silent public spaces: churches and public libraries of Valparaíso, Chile. The interventions are subtle, small pieces with actions that are usually performed in these spaces, with the aim of pushing the boundaries of social order.
The piece was commissioned for the exhibition «Alteridades de lo invisible» («Otherness of the invisible») at CasaPlan (Valparaíso), curated by Fernando Godoy and Leandro Pisano. The show was part of the Festival Tsonami and it was held from the 5th to the 12th of december of 2018.
Thanks to: Tomás Cabado (score of the intervention for silent rooms of public libraries); Pamela Cañoles, Mariana Carvalho, Florencia Curci and Andrea Rioseco (intervention at Catedral de Valparaíso); Peter Gossweiler, Giuliano Obici, Rodrigo Toro (intervention at Biblioteca Santiago Severin), David Vélez (performance at opening), and team Tsonami.
Images by Archivo Tsonami.
Texto en español:
La instalación sonora se basa en una serie de intervenciones de guerrilla individuales y colectivas en espacios públicos silenciosos (bibliotecas e iglesias). Las intervenciones son piezas pequeñas y sutiles con acciones que suelen realizarse en esos espacios con el fin de empujar los límites del orden social.
La pieza fue comisionada para la exhibición «Alteridades de lo invisible», curada por Fernando Godoy y Leandro Pisano, que se realizó en CasaPlan entre el 5 y el 12 de diciembre de 2018, en el marco del Festival Tsonami, en Valparaíso, Chile.
Agradecimientos: a Tomás Cabado (partitura intervención para salas silenciosas de bibliotecas y compañero en el origen del proyecto); Pamela Cañoles, Mariana Carvalho, Florencia Curci y Andrea Rioseco (intervención en Catedral de Valparaíso); Peter Gossweiler, Giuliano Obici, Rodrigo Toro (intervención en Biblioteca Santiago Severin); David Vélez (performance inauguración) y todo el equipo de Tsonami.
Imágenes provistas por Archivo Tsonami.
Valparaíso, Chile, 2018
Acousmatic composition
I recorded sounds of my family and my boyfriend’s family during four family meetings. I sometimes asked them to behave in the table as they always do, but without talking. Other times, I recorded their conversations without notifying them and captured hours and hours of casual conversations. Afterwards, I made them listen to those recordings. The action had a transformative result: they immediately paid attention to their sense of hearing and became conscious of their sounding interventions in the world.
I made a collage with the collected sound. The composition accounts for the performativity of familiar lunches and dinners in Argentina and of the sounding universe of everyday life. The complete version was set up as a sound installation for the exhibition “Wacala” (spanish expression translatable as “Yuk!”) in April 2015, at the Teatro Verdi of La Boca, Buenos Aires. It was also played as an acousmatic piece at the Museo de Arte Moderno de Buenos Aires in July 2016.
The recordings were made with binaural microphones. It is recommended to listen with earphones.
Alma Laprida
Buenos Aires, April 2015
Card deck for two/three performers and director
The performers are sitting on a table. In front of each one of them, there’s white sheets of paper (letter size), a pen, a pencil, a charcoal and a deck of cards. The cards can be organized in a particular order or shuffled. You can use as many cards as you want.
The cards indicate whether the performers have to repeatedly draw circles, squares, ascending lines, dots, free lines (“LIBRE”) or sign (“FIRMA”). In some cards there are indications for the size of the drawings (S/M/L), the speed/tempo or the intention of the gesture.
The director shall indicate the performers when to take a new card, when to start a new action, when to change the drawing element but also shall indicate dynamics and, when the cards are over, when to finish it.
The pressure the performers must do on the paper must be enough to get a clear line.
Depending on the acoustic characteristics of the venue, it could be necessary to amplify the sound of drawing.
Mexico City, February 2016
Alma Laprida 