Second, we want to establish that by women we understand not just the assigned at birth gender identity, but a comprehensive spectrum that includes trans women and other individuals with a variety of gender performances and sexual orientations. First, we like the fact of being an art project that contributes to the biennial by adding other sensibilities than those of the male creator. There are a couple of reasons for this decision. Launching Fruta Bomba through Sonic OverturesĪlthough we have been busy since last year, we decided to launch Fruta Bomba though Sonic Overtures, in the context of the Havana Biennial 2019. Distributed, free culture in Cuba and US. It is distributed in Cuba via the paquete semanal, Cuba’s internet.Īlso a special edition of 300 usbs distributed in Habana on the occasion of the Habana biennial. The project is available on its website in the U.S. artist and a Cuba based musician both of whom produce sound in relation to gender concerns, to collaborate on.ĭrawing on compositions created in collaboration, and presented at Wellesley Chapel, on Wellesley College, Wellesley, Massachusetts. Sonic Encounters extends this notion by inviting a U.S. In Sonic Warfare, Sound, Affect, and the Ecology of Fear (2010), Steve Goodman writes that “between the politics of noise and the politics of silence”, is yet another way of listening, a “politics of frequency.” This listening, which to some does not sound like politics, plays with “sonic processes and technologies of power” to “steer them elsewhere, exploiting unintended consequenses of investments in control.” That is, to transduce, or to transform “deeply ingrained ambiences of fear or dread into other collective dispositions”. Sonic Encounters pertains to caring for the unsound and as such, to nurturing the sensual dimensions of aurality. To curate a sonic event in the present circumstances is both to attend to critiques of the militarization/masculinization of sound, and to the creation of opportunities for sonic remodulations with different tonalities. As a curatorial project, Sonic Encounters is attuned to the etymology of the word curating: to manage, to care for. In tuning into these vibrations, the project involves turning off the bad vibes of macho posturing that is the dominant track of our present political and sonic cultures. , to tune into the sonic to amplify the not yet audible, that which figures as of yet as unsound. Sonic Overture/Obertura Sonica concerns a collaborative project that is positioned on the intersections of gender, sound art, and music in Cuba and the United States. Adriana Knouf (U.S.) and Fruta Bomba (Cuba)Ĭurated by/a curadia de Claudia Costa Pederson, Nestor Sire, and/y Lizabel MónicaĬuratorial Statement/Declaracion Curatorial Sonic Overtures / Oberturas Sónicas A collaborative project by/un proyecto colaborativo de N.
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