Since 2020 Contemporánea, the Galician Association of Contemporary Art Galleries, has been collaborating with the Intersección Festival of A Coruña with its own section, in which it presents audiovisual works by some of the artists of the associated galleries, as well as acting as a jury and awarding a prize within the Galicia Section. This award raises the commitment to exhibit the winning works in one of the galleries of the association, which so far had not materialized (partly due to changes in programming caused by the pandemic during the first edition of this collaboration).
From Nordés we did want to offer our space for it at some point so we decided to show now together the works awarded during the last three editions.
On Thursday, March 9 at 8:00 p.m. there will be a brief presentation to the public by the artists together with Gonzalo Veloso, the director of the festival. After the presentation, the three award-winning works will be screened, which can also be seen on loop throughout Friday 10th (only these two days).
Single-channel video, 2'33'', 2022.
"It is as if the millions of centuries that have molded our auditory organs have taken special care to provide us with a permanent alarm system. It tells us almost instantly what is happening, and it tells us whether this event threatens us, comforts us, interests us; in short: whether it concerns us" Olivier Revault d'Allones, "Musique et philosophie", in L'Esprit de la musique1992, p 37.
"Sounds are not the manifestations of events that happen to things, neither are they qualities of events, they are the events." Francis Wolff, "Why music? 2021, p 49
There is a special relationship between sound and event. For there to be sound something has to happen, something has to move, something has to happen. Without movement there is no sound. Sounds signify events.
For the realization of this series I impregnated with black oil the left hand of the tambourine player so that, while playing with her instrument the different rhythms in sequence that give name to the work, she would leave the imprint of each blow on the tambourine's drumhead. The performance has been recorded in a single-channel video and a photographic record of the tambourine before and after the performance has also been made to generate a diptych.
In an attempt to generate new forms of visual registration of these sounds belonging to the tradition, a monochrome pictorial piece produced as a result of the performative process on the instrument itself is generated, a video piece (showing in real time the performance with the tambourine) without sound, which means that we cannot listen, but we have to intuit or deduce visually the rhythms named in the title.
Thus, that image in the tambourine patch, made with black paint, which refers us to the color of the traditional notation in music, is an attempt to legitimize new ways of facing and recording certain events derived from the musical and pictorial traditions, and speaks to us of the obstinate and uninterrupted attempt to create new codes of understanding between the visual and the sonorous.
Juan López, 2022
Berio Molina and Alexandre Cancelo
Full HD Video, 64', 2019
The separation of the voice. The evacuation of the voice.
A film by Alexandre Cancelo and Berio Molina from an improvisation by Miguel Prado based on his work Evacuation of the voice. Subsidized by AGADIC and the Diputación Provincial de A Coruña. Contemporánea Award at the III Intersección Festival.
HD Video Files, 7' 55'', 2020
Hauntopolis is a kaleidoscopic video that shows the remains of an inhospitable landscape, creating an imaginary geography in continuous growth. The scenarios are crossed by spectral presences and the longing for a time that could have taken other paths.
The title, in reference to Mark Fisher's hauntology, places us in a cultural present folded in on itself, absorbed in a strange simultaneity of echoes of the futures projected by modernity. Immersed in a sense of collective deception, any idea of historical continuity or progress today is confronted by a great mesh of television broadcasts, messages, spam files and videos in complex devices that materialize Guy Debord's "spectacular" vision, in which the excess of images would transform capital itself into an image.