Possible setups for Tallereando

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Tallereando consists of a series of photographies of different sizes and four flat LCD screens. The photographies are printed on foam core board, and this material makes them very easy to transport and to hang. The screens hang on the wall as well, and together with the photographies they form a set of great plasticity.

There is not a fixed arrangements for the elements of this installation. Ideally, we would prefer a quadrangular space with similar sized walls. The idea is to place the “quadraphonic” sounds played by the screens in such a way that they confront each other, by forming a kind of a plus [+] sign. This arrangement helps to recreate the original acoustic space, however, this is not a strict requirement; rather it would be advisable to disrupt the symmetry between the elements slightly. In order to do this, we play with the composition of pictures and screens, constructing a living whole.

However, the works can be successfully displayed in narrower, rectangular spaces, such as corridors and passages, as well as in other crossing places. Staircases are also a good place to display the works. In this kind of linear spaces (corridors) or twisting spaces (staircases), the encircling acoustics unfold into something rather itinerant, in the first case, and vertical, in the second case.

Depending on the room´s size, it is even possible to hang the works on a single wall, creating a compressed composition which combines photography, audio and image in a  rich, unified conglomerate.

As for the arrangement of the screens on the wall, one should always take into account that (whatever the general setup) they should not be placed close to each other, as this would cancel the sound waves. Ideally, there should be a minimum space between the screen so that there appears an acoustic and visual heterogeneity among the elements.

The use of USB pen-drives significantly simplifies the amount of devices, cables and dockets needed to reproduce the installation. Pen-drives replace conventional DVD-players. Preferably, the walls of the exhibition space should be hollow, so that holes can be drilled in which to hide the the cables and the sockets. The most desirable setup is that in which the screens are fixed of the wall with screws as if they were just another photography. For this reason, it is very important that no cables or sockets can be seen behind the screen.

Beatriz closes the loop

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After some weeks, we started to build up a synergy, designing the project texts, falling in love by degrees with the aesthetic while. With every step we give, we start feeling each other’s proximity, and this motivates us even more.

Once the audio is completely finished and the pictures have been determined, Beatriz proceeds to close the creative game: Joselu is the “instrumentalist” of sounds, as well as the photographer who captures the still lifes of the workshop. On the other hand, Ángel´s task consist not only in capturing such sounds, but also in moulding and composing them in time. These sounds are the workshop’s hallmark. But to the listener, sounds draws with them the feeling of the space in which they had been resting previously. Tallereando tries to expose these sounds’ aura: their natural habitat. Also, these sounds are presented in a new exhibition space, which spontaneously synthesizes a new idea of space each time.

Beatriz is the central piece, the keystone: she creates an expressive state in this in-between. She uses the pictures to extract their textures and place them on her own 3D imaginary geometries created with Jitter/OpenGL. These abstractions -she uses to call them “animals” – have their own becoming in time: they move away, grow and rotate; they often present impossible, complex perspectives, change color, tremble, fly, evaporate…. these dynamic capacity of expressing themselves in time evidently relates to a timeline. Space, sound and time unites to provide the installation with a certain floating unreality. The most interesting thing is that this visual reverie come from prosaic elements such as work tools in a workshop.

Static pictures versus the dynamism of video images; real sound space versus restored sound space; images of the sound source, versus the sound source itself… at least three well differentiated axis cross the poetics of Tallereando, in a joint gesture which is at the same time physical and aesthetic, and in which expression means extends generously, in an attitude of giving (themselves) to the others.

First photographic results

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Last week we discussed the possibility of presenting the project in several venues in The Netherlands.  This is starting to become really interesting creatively. Just a week after our meeting, Ángel starts to plan the sounds, and two days later he decides that the sounds should be something concrete, almost alla Schaeffer. The space, the coordinates, the bon sens… all this is something the project seems to demand by itself.

Ángel sends Joselu a first stereo draft in mp3 format – the original has 4 channels-,  which needs slight volume corrections only. Joselu asks Ángel if he intends to add instruments to the audio. It is then when Ángel realizes about the aesthetic dimensions of the work: the barest, the better. This decision was something we all applauded: the pictures are (if possible) more straightforward than the audio, but also richer. Joselu tells us that the pictures are ready, and sends them via internet.

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At this point, none of us is able to envision the final result combining the pictures with Beatriz´s dynamic videos, Ángel´s immersive four-channel sounds… but this stimulates our imagination even more. One of the ideas was to transport the workshop´s acoustic space into the exhibition space by creating of a sound installation. At the beginning, we planned a separate audio installation with four independent speakers… Later on, Beatriz came up with the idea of using the sound system integrated in the TV screens, something which significantly reduces the amount of devices needed. But then there was the problem of synchronizing audio and video. We did not wish to use laptops or anything which could make the starting up process of the installation difficult. Ángel decides that the sounds should be something eventful, in which the 4 channels interpolate randomly, in a kind of an almost endless sliding composition.

A small sample of the material:

On the other hand, we found the new – and not that new – LCD screens absolutely wonderful,  in the sense that they help us spare many resources. A simple pen-drive containing the video file is enough to say goodbye to cables, DVD players (always unsightly) as well as to an endless number of technical difficulties, including the eventual mechanic mismatch among the different playback devices. Today, almost any flatscreen TV can play video files trough USB. We absolutely love these things:

Tallereando starts

Joselu, a great artist, truly New Renaissance man and exceptional friend, has often told us about his dream of melting spatial perceptions with images and sounds. This idea of making an “a little long” short film, entering into an abandoned house and stealing the essence of the different spaces from a quite minimal point of view, attending to a ultra-condensed narrative, had been going round in his head for a long time already. Probably, this was the spark which kindled Tallereando.

In our meetings, which we held from time to time in Peñafiel, this idea moved to deeper territories, into the dominions of old pieces of machinery, as a huge time travel. “Let´s go to the workshop in my country house sometime, and scavenge the place from top to bottom” he told us some months ago. “Some of the machines and tools are more than 100 year old, we must do something with them“. Sonology in its purest form. “Maybe people will think we are nuts“. We assured him of the contrary.

We put all these ideas in the freezer for some time, but one day we sent Joselu an e-mail from The Hague,  took a plane and met him in Peñafiel with a brand new recording setup, including two cardioid microphones. Going into the workshop with Joselu was like submerging oneself in a labyrinth of sensations, in which you only know how to go in but not how to go out… It was amazing to reflect on the way time passes, but yet having a timeless feeling.

Heavy machinery, work tools, antifreeze liquid, pruning shears, jars full of screws; grinder discs, saw blades, pieces of timber, plastics of any kind, improvised marimbas made of spanners of different sizes, lawnmowers…. our exploratory eagerness was nourished by all these implements, we felt like children: facing new realities every moment.

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