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

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Live streaming on Radio Centro de Cultura Digital, August 17, 4pm (Mexico time) 10pm (London time)
http://radio.centroculturadigital.mx

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

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Image by Ximena Alarcón

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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

STARTS

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!

[English]

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

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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!

ICT Art Connect – Bozart Brussels

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Photo by Riitta Oittinen

 

 

 

 

 

 

 

 

 

Networked Migrations and Sounding Underground were exhibited on the 25 of September, 2014, in the festival of electronic art Bozart, in Brussels, as part of artworks that engage communities and use ICT. It was a great opportunity to make these works known in Europe, and to be part of ICT Art Connect, where artists have the chance to tell the story of their work and envision future collaborations.