Metal splinters, helicopters with umbrella and PVC voices

EXTRUSION [2010]
8-channel tape piece
Ángel Arranz

‘Everything is curved’. So did my dear colleague Casper Schipper define his first listening to Extrusion, the second electronic piece from a series of four works, which I expect to finish in 2011. Maybe it is because of my renewed interest in Baroque aesthetics, maybe because of a more aware use of the spatial/temporal qualities of the materials, certainly it results in a more flexible approach to time than even in my previous electronic piece, Electronic Study. The piece was composed thinking about the features of the space in which it has been premiered, the Schoenbergzaal of the Royal Conservatory of The Hague. To a certain extent, in Extrusion sounds seem to be closer to the limits of the space they inhabit. I have always found especially suitable the apparently austere concavities of the Schoenbergzaal, an architectural compound of solid bricks and wood. In order to develop spatial gestures of sounds in a physical way, the hall is not hugely big as a large concert hall, but long and wide –and high- enough as to magnify some sonic gestures, which draw a completely new impression of the space fed by the music. So, space becomes a sort of instrument just in the moment when you try to modify the perceptions that the audience have about it in a virtual way along a deconstructed timeline.
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Isidro Blasco exhibition – Aquí Huidizo – Sala Alcalá 31, Madrid

c/ Alcalá, 31
28014 Madrid
17th March to 16th May, 2010
Tu. to Sa. 11:00 to 20:30
Su. 11:00 to 14:00
free entrance

Unlike the general chaotic mood last days and the collective hysteria by trip colapses, certain news about a threatening volcano incarnated in the god Thor and serious announcements in the meantime of a new crisis originated over the worldwide airplane sector, unlike the trapped feeling of willing to escape the tyrannical permanence of Madrid architecture and the endless sensation of a Europe that suddenly converts into an enormous abstraction surrounded by cumulus of imaginary ashes and distorted hallucinations from the media, we found another more interesting chaos, organic and silent, formed by real memories and pieces of life meticulously (dis)ordered on wooden structures, delicately bent photographic sheets and imaginary streets that at the same time are real, mental territories seen at once. So, it could be defined doubtlessly as a true pleasure. Fiction over fiction equals real, chaos over chaos equals something pretty close to exquisite order.

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