>Patrón de convivencia [Pattern of co-existence] further explores the research work carried out by Nicolás Varchausky for several years now regarding recursive systems, feedback as a generator of sound and the body in relation with technological environments.
The project explores the physical construction of a sound in space and in time. A group of performers/operators places a series of speaker modules, microphones and light sources in a grid that supports them and induces each module into a state of controlled feedback, which will increase and generate a multiplicity of beats as the minutes go by. These beats (perceived as rhythmic fluctuations of intensity) originate in the closeness of one speaker with the other. The spatial co-existence of these sound objects and their progressive accumulation throughout time result in a mass of unstable balance that will be built up and modified by the action of the performers.
The construction of this sound network will involve the use of a spatial support, designed to interconnect and manipulate the modules. As this action unfolds, sound will increasingly take over the space and the texture will become more and more complex. The performance will take place using the last hours of natural light and the first hours of the evening. The performers will build a scenario in which the body will be construed as the undividable system of connected weavings related with this sound network.
The audience will have the chance to follow these actions and explore the place, discovering how the same sound can behave differently in each spot of the venue.
And perhaps, the way in which these modules and bodies co-exist and affect one another physically in space can be construed as a metaphor for community living.
Performers: Amparo González Sola, Juan Onofri Barbato, Matías Sendón, Nicolás Varchausky
Electronic consultant: Jorge Crowe
Date: May 23 and 24
Time: 4 to 8 pm
Venue: MAR. Museo de Arte Contemporaneo Mar del Plata
Admission: Free and open to all
Coproduced by Mar del Plata Contemporary Art Museum - Instituto Cultural de la Provincia de Buenos Aires
Curated by Rodrigo Alonso
Nicolás Varchausky, 1973, Buenos Aires,
Argentina. He lives and works in Argentina.
He is a composer, sound artist, assistant professor, and researcher at the University of Quilmes (Argentina). His artistic production includes electroacoustic and instrumental music compositions, performances, sound art, interactive art installations, projects for public spaces, sound art performances, and music for films, theater, and dance pieces. He is the founder of Inkilino Records, experimental music record label. Among other distinctions, he received an Honorary Mention at Prix Ars Electronic. He earned his PhD at the Center for the Digital Arts and Experimental Media, University of Washington (Washington, United States). Chief among his works are Duramadre, original music and live performance (Festival GetLost, Ervaar Daar Hier Theater, Netherlands, 2015); Resonancias, turbulencias y explosiones, electroacústica (CMMAS - Centro Mexicano para la Música y las Artes Sonoras, Morelia, Mexico, 2014); Piano acoples visuales, in collaboration with Esteban Insinger and Mariano Vilela (Café Vinilo, Buenos Aires, Argentina, 2014); Volúmenes Foto-sensibles IV-V-III bis, performance (Ciclo ESCUCHAR!, Sound Art Festival, Buenos Aires National Museum of Modern Arts, Buenos Aires, Argentina, 2013); Biblioteca ciega, performance (Alberto Williams Hall at the Centro Nacional de la Música, Buenos Aires, Argentina, 2011); Speaker Performing Kiosk, The Huddersfield Sessions, performance (ICMC International Computer Music Conference, University of Huddersfield, Huddersfield, England, 2011); Continuidad de los parques, site-specific art, in collaboration with Tivo Rice and Michael McCrea (Art Sparks, Occidental Park, Washington, United States, 2010); Sounds at the Brink of (in)stability, installation and performance, in collaboration with Stelios Manousakis (Seattle Art Museum, Washington, United States, 2009); Tertulia-Mirogoj, sound and visual intervention, in collaboration with Eduardo Molinari (Festival for the Mirogoj Cemetery, Zagreb, Croatia, 2009), and Tertulia, intervention, in collaboration with Eduardo Molinari (Buenos Aires International Festival, Recoleta Cemetery, Buenos Aires, Argentina, 2005). His albums include Speaker Performing Kiosk, Live Sessions Vol. 1 (Inkilino Records, 2013); Sudamérica Electrónica Vol. 2, compiled by Jorge Haro (excerpt from The Chapel Sessions, Live, 2008) (Sudamérica, 2008); Piano ex Machina, pieces for piano and electronics by Cura, Davidovsky, Harvey, Pampin and Varchausky, performed by: Susana Kasakoff (BAU Records, 2007), and Revue filigrane Nº 4: Nouvelles Sensibilités (Delatour Editions, 2007). In addition, his music productions for film and plays include: La patota, directed by Santiago Mitre (2015); ¿Qué ves?, by Sofía Vaccaro (2015); Estrellas, by Federico León (2007); Paranoia, by Rafael Spregelburd (2007); King Lear, by Jorge Lavelli (2006); Locos de la bandera, by Julio Cardoso (2004); Stupidity, by Rafael Spregelburd (2003), and The Human Scale, by Javier Daulte, Alejandro Tantanian and Rafael Spregelburd (2001).
Juan Onofri Barbato 1983, Río Negro, Argentina.
He lives and works in Argentina.
He received his training at the Experimental School of Contemporary Dance in Neuquén (Argentina) and graduated from the Dance Workshop of the Teatro General San Martín (Buenos Aires, Argentina). In 2012 he received a grant from the Kunsten Festival des Arts (Belgium), and the Goethe Institut for Working Visits to present his work at the Berlin Biennial (Germany). He studied with Susana Tambutti, Ciro Zorzoli, Alejandro Catalán, Horacio Banega, Rubén Szuchmacher, Eleonora Fabião, Mariana Oberztern and Andrea M. Hoffman, among others. He is the co-founder of the Teatro del Perro, Espacios Escénicos Autónomos, Foro Danza en Acción, and KM29. His performative pieces include: Duramadre, with KM29 group (Prodanza, Centro Cultural San Martín, Buenos Aires, Argentina, 2014); Los trompos, with the Contemporary Ballet (Teatro General San Martín, Buenos Aires, Argentina, 2013); Todo junto (Casa de la Cultura del Fondo Nacional de las Artes, Buenos Aires, Argentina, 2012); Los posibles, with KM29 group (Prodanza, Teatro Argentino de La Plata, Buenos Aires, Argentina, 2011); Pack with Compañía de Danza (I.U.N.A., Buenos Aires, Argentina, 2010); Ocupaciones breves (Ciudanza, Buenos Aires, Argentina, 2008), and Tualet (Prodanza, Espacio Callejón, Buenos Aires, Argentina, 2008).
The above-mentioned pieces participated in the following local festivals:
FIBA, El Cruce, Argentino de Artes Escénicas, Nuevas Tendencias and Cipo Danza; and in international festivals such as: FIDCU (Uruguay), GetLost Theater (Netherlands), and Pays de Danses (Belgium-France). He co-directed the film Los posibles, by Santiago Mitre (2013), and was choreographic advisor in Benjamín Naishtat's La historia del miedo (2014); Lisandro Alonso's Jauja (2014), and Santiago Mitre's La patota (2015).
Matías Sendón 1973, Buenos Aires, Argentina.
He lives and works in Argentina.
He is stage lighting and set designer. He took different courses in cinema and the use of color in art. He received training from such teachers as Mauricio Rinaldi, Gonzalo Córdova and Eli Sirlin. He has designed the lights for different theater and dance productions for various directors and creators including: Mariano Pensotti, Rafael Spregelburd, Lola Arias, Romina Paula, Javier Daulte, Grupo Krapp, Leticia Mazur, and Juan Onofri Barbato. He earned the following awards: the Teatro del Mundo award (Centro Cultural Rector Ricardo Rojas-UBA, 2007 and 2010); the Florencio Sánchez (Casa del Teatro 2011), and the María Guerrero (Teatro Nacional Cervantes, 2012). Some of the theater plays he worked in include: Helmut Lachenmann's The Little Match Girl (Teatro Colón, Buenos Aires, Argentina, 2014); Luis Biasotto's Africa (Buenos Aires, Argentina, 2013); Robert Wilson's Lecture on Nothing (Teatro General San Martín, Buenos Aires, Argentina, 2012); Grupo Krapp's Adonde van los muertos (lado A) and Adonde van los muertos (lado B) (Teatro Argentino de La Plata, Buenos Aires, Argentina, 2012); Juan Onofri Barbato's Los posibles (Teatro Argentino de la Plata and Centro Cultural San Martín, Buenos Aires, Argentina, 2011); Romina Paula's El tiempo todo entero (Buenos Aires, Argentina, 2010); Fantasmas del Di Tella, 50th Anniversary of the Di Tella Institute (Universidad Torcuato Di Tella, Buenos Aires, Argentina, 2008); Tertulia, by Nicolás Varchausky and Eduardo Molinari (Buenos Aires International Festival, Recoleta Cemetery, Buenos Aires, Argentina, 2005); Stupidity, by Rafael Spregelburd (Buenos Aires, Argentina 2004), and Mariano Pensotti 's La marea (Buenos Aires International Festival, Buenos Aires, Argentina, 2005). He has recently worked in the film Los posibles, by Santiago Mitre and Juan Onofri Barbato (BAFICI, Buenos Aires, Argentina, 2012).