“In-between” exhibit in UNKNOW

Screen Shot 2018-04-25 at 23.26.25

Thanks to Lesia Vasylchenko for inviting me to be part of this online exhibition in the new unknown platform in a group exhibition of artists working on ideas around “in-between” . I participated with the article “On dis-location:listening and re-composing with others” originally published in the Academic Journal “Reflections on Process in Sound”. The Unknow intiative is born in the Academy of Fine Art in Oslo, where this online platform is displaying works and research-based projects dedicated to digital culture, philosophy, and media, in the format of online group exhibition.

Here there is a link to the archived exhibition: https://www.unknow.online/archive-in-between

Video documenting Suelo Fertil Telematic Performance: Mexico DF, Linz, London. 2016

Suelo Fértil [Fertile Soil]: Telematic Sonic Performance from Ximena Alarcón on Vimeo.

For one-month eight migrant women, residing in Mexico, the United Kingdom, Austria and the United States explored ideas of migration, belonging and place. By practicing Deep Listening to their voices, dreams, memories, body and the outer environment, they recognised the vast territories that they inhabit and how these connect with their inner self, transcending identities and the sense of belonging to a specific ‘place’; listening to the rich complexity that is generated through space, time and memory in the migratory experience. Suelo Fértil ended with a public live telematic improvisation between the eight women, taking place simultaneously in London, Mexico and Linz: a conversation with words, and sounds that nourishes a fertile soil to inhabit migratory contexts. Using binaural sound and bi-directional audio, the processes of listening, connection and performance focused on questioning what are the conditions that each requires for that soil to breathe as fertile. They were joined by other women from the audience while exploring through sonic actions the shared migratory conditions of uncertainty, certainty and risk. Technical problems with the connection between London and Mexico changed the course of the planned performance, and created instead a local performance in London, and a telematic performance between Mexico and Linz. The improvisation that took place in all
spaces highlights the courage of women to react creatively to the challenge of crossing Internet borders for sound streaming, and to reflect on all sonic artifacts that came unexpectedly, as interferences that question at once: migration, technologies and the capacity of listening and sounding to communicate one’s deepest feelings and create connections beyond challenging technological conditions.


To explore more about the project: http://suelofertilcollective.wordpress.com


Suelo Fértil – Telematic Sonic Performance #2 August 17, 2016


Live streaming on Radio Centro de Cultura Digital, August 17, 4pm (Mexico time) 10pm (London time)

Presentation: Cinthya García Leyva and Ana Cecilia Medina (lleom)
Production: Eric Flores (CCD Radio)
Performers: Ximena Alarcón, Ana Cecilia MedinaMaría PonceMiho Hagino, Yazmin Kuymizakis

Within the project PoéticaSonora | México 2016, and in collaboration with Radio Centro de Cultura Digital, lleom team members will have a talk with the Colombian artist Ximena Alarcón, whose telematic performances explore the migratory experience based on the poetics and practice of deep listening. In addition to the talk, a radiophonic performance shall be transmited, with the participation of Ximena Alarcón in London, María Ponce in Reading, Yasmin Kuymizakis in France and Miho Hagino and Ana Cecilia Medina in Mexico City.

The performance is a continuation of Suelo Fértil, an immersive experience exchanging dreams and sounds derived from migration and fertility metaphors. Suelo Fértil originated as a performance project commissioned by Arte en Tránsito UNESCO, Mexico, May 2016. Now, Suelo Fértil continues as a remote creative sound collective of migrant women.


Suelo Fertil [Fertile Soil] Performance Telematico Sonoro – May 11


Image by Ximena Alarcón

suelo fertil A4H

Image by Yesica Barrera

May 11th , 11am a 12m (Hora Mexico)

5pm a 6pm (Hora Londres)

Un Performance Telemático Sonoro: una improvisación en vivo entre 4 mujeres en Londres, 3 en México y 1 en Linz, explorando ideas de migración, y sentido de pertenencia a un lugar. 

Liderado por Ximena Alarcón para el Foro Arte en Tránsito organizado por UNESCO, Mexico City.

Performers Conversación: Ana Cecilia Medina, Gabriela Gordillo, Jazmín, María Ponce, Miho Hagino, Sol, Yasmin Kuymizakis, Yesica Barrera

Esta improvisación telemática invita a cultivar un diálogo virtual de palabras, voces y sonidos entre mujeres migrantes en México y el Reino Unido, que nutra un suelo fértil para habitar en contextos migratorios.

En un proceso de reflexión personal y colectivo, a través de Internet, ocho mujeres migrantes en México, el Reino Unido, Austria y los Estados Unidos, han trabajado durante un mes la Escucha Profunda (Deep Listening) incluyendo la escucha a sus sueños, memorias, cuerpo y el ambiente que las rodea. De esta manera ellas han reconocido los vastos territorios en los que habitan y cómo éstos se conectan con su ser interno, trascendiendo identidades y el sentido de pertenencia a un lugar, escuchando la rica complejidad que se genera a través de tiempo, espacio y memoria, en la experiencia migratoria.

Utilizando sonido binaural, y conexión de audio bi-direccional, el performance conectará a través de Internet espacios físicos, en Ciudad de México, Londres y Linz, desde donde las participantes compartirán los espacios descubiertos con la audiencia y explorarán de manera creativa condiciones para fluir, respirar y expandirse de manera fértil.  Apropiando acciones y espacios sonoros de incertidumbre, certeza y riesgo, ellas serán acompañadas por otras mujeres presentes en la audiencia como expresión compartida de la condición migratoria.

En Londres el performance se llevará a cabo en CRiSAP a las 5pm (hora Londres) y es co-producido por Holly Ingleton. En Mexico el performance se llevará a cabo en la Plaza de las Artes del CENART a las 11am (hora Mexico). En Internet, el performance se podrá escuchar en vivo via Resonance FM.

Suelo Fértil es parte del Foro “Arte en Tránsito” y comisionada por UNESCO México, en colaboración con CRiSAP (Creative Research into Sound Arts Practice) – London College of Communication, el Center for Deep Listening (Rensselaer Polytechnic Institute, Troy), Resonance FM, Soundjack, y el Centro Nacional de las Artes (CENART).

La improvisación será transmitida en vivo a través de Resonance FM.

Part of STARTS – Science, Technology and the Arts


Memory of Sounding Underground and Networked Migrations collaborating in ICT ART CONNECT. “ICT ART CONNECT.study is ran by iMinds and Artshare for DG CONNECT – European Commission. The study aims at characterizing and connecting artistic communities of ICT researchers at all levels. From this analysis, recommendations will be drawn for a DG CONNECT strategy to engage more broadly with the arts in Horizon 2020 – the EU Framework Programme for Research and Innovation.” Read more: http://www.ictartconnect.eu/interestingcalls

Reseña de Sueños Migratorios en ‘Plataforma Habitarte’

Feature in Plataforma Habitarte, Colombia

Feature in Plataforma Habitarte, Colombia

En el mes de Julio, 2015 se publicó una reseña del performance telemático ‘Sueños Migratorios’ en la Edición número 3 de la Revista en linea Colombiana Plataforma Habitarte. Me parece muy interesante que una revista de arquitectura y diseño se interese entre otros aspectos urbanos, en la cultura sonora. Que bien!

Gracias por la publicación!


In July, 2015, the Colombian online magazine Plataforma Habitarte, in its 3rd edition, published a feature about the performance ‘Migratory Dreams’. I find very interesting that a magazine dedicated to architecture and design, offers space to talk about sound culture. Great!

Many thanks to the publishers!

Two Thousand and Fifteen Symposium at Belfast, April 25th – 2015

Screen Shot 2015-07-15 at 19.27.06

This year I had the opportunity to attend the symposium ‘Two Thousand and Fifteen’ exploring the theme ‘Fractured Narratives’ as part of ‘Sonorities’ a Festival of Contemporary Music in the Queen’s University Belfast. I presented a paper called ‘Improvising in the distance: Letters and Bridges’ focusing on the experience of Letters and Bridges telematic performance.

Symposium Fractured Narratives at QUB, April 25, 2015

Symposium Fractured Narratives at QUB, April 25, 2015

Here the abstract of the paper:

“This paper explores forms of fractured narratives that arose in ‘Letters and Bridges’, a telematic sonic performance from the project ‘Networked Migrations’. This event invited migrants (non-performers) based in Mexico City and in Leicester, England to share personal letters through improvisational readings, using real-time, bi-directional, streaming sound (Alarcon, 2014). Six participants from different countries, speaking in different languages, engaged in a practice of Deep Listening (Oliveros, 2005) to prepare for the improvisation, which was performed first by using a letter sent to them by someone they love, and later by using a new letter written to their distant performance partner in a pen-pal fashion.

Repetition, fragmentation, and transformation of words—leading to newly created relations between languages and styles, between authors and recipients, and between historical contexts—all helped participants to cross metaphorical ‘bridges’: bridges to access the memory of the beloved one, and bridges to access that ‘stranger’ who is willing to listen to multiple levels of personal story created in the distance. The bridge, in this context, can be understood as the path that facilitates the flow of feelings and words within the fracture that distance generates. This fracture implies: migration, dislocation, conversation between strangers, and stories from other spaces and times in foreign languages. Technology paradoxically enables and disrupts the narratives. The listening process and the detachment from visual presence focuses one on sound as the only source for interaction.

The paper will analyse the process lived by the participants—from the first pre-performance encounter to the public performance—as well as the new stories and reflections that emerged from the disruptive interaction: reflections about colonised and coloniser countries, witness accounts of sadness and violence, and the desire to migrate again, escaping from ‘broken’ and repetitive landscapes, which signified political instability and stagnant routine.”

The symposium invited me to think and hear the discussion about the role of participants in artistic/research projects, and subjectivities. I think each work must respond to the dynamics of the context and the people involved. There are not formulas either for art processes or for working with people, but always keeping in mind an ethical approach. The amazing book of Ruth Behar ‘The Vulnerable Observer‘ is a good reminder of the involvement we had with others in the creative and research process, an anthropological perspective.

Many thanks to the organisers!