DON´T WASTE WATER!… NOT EVEN A DROP!
Sound installation

Concept and poetics of the work
Through loudspeakers that look as washbasins we can listen: through the first one at the left a constant spurt of water and through the second one unending falling drops.
This kind of publicity warning works and is feasible in the sense that for this effect and message it is not wasting any water. Even though I did it for the recording takes!
In this way the object loudspeaker works in a double sense: on one hand it has the shape of a recipient as a thing in which we could pour something, on the other it emits sounds (spurts and drops) replacing water that is not there.

Work opened in the Projektraum Kunstlerhauser Worpswede 2006 Gallery. Work produced through Residency Scholarship for Artists of the Kunstlerhauser Worpswede 2006.

ELECTRO ACOUSTIC BED…SWEET DREAMS!
Sound installation

From the series Acoustic Beds

Bed, mattress and pillows intervened by twenty-nine loudspeakers

Work opened in the Projektraum Kunstlerhauser Worpswede 2006 Gallery.
Work produced through Residency Scholarship for Artists of the Kunstlerhauser Worpswede 2006.

From Ideosonica series

Work opened in the Projektraum Kunstlerhauser Worpswede 2006 Gallery.
Work produced through Residency Scholarship for Artists of the Kunstlerhauser Worpswede 2006.

LITTLE RED RIDING HOOD'S LITTLE SOUND BED
Sound installation

From the Children's Stories Little Sound Beds series

Work done with the collaboration of artist Hebe Urricelqui

Work opened in the Projektraum Kunstlerhauser Worpswede 2006 Gallery.
Work produced through Residency Scholarship for Artists of the Kunstlerhauser Worpswede 2006.

MUSIC CASES
Sound installation

From Music Cases Series

Concept and poetics of the work
A flute and an ukulele case are open. These cases are empty, devoid of their instruments. Through each one of them we can listen soft music that is repeated in a sequence in which we can recognize their source. The sound and musical material is treated in a way that reminds us to a musical box.

Work opened in the Projektraum Kunstlerhauser Worpswede 2006 Gallery.
Work produced through Residency Scholarship for Artists of the Kunstlerhauser Worpswede 2006.

WORK UPON WORK
(obra sobre obra)
Sound performance

Dedicated to all those sounds that belong to the past: bits of music we have played in rehearsals, practicing the instrument and in out leisure moments too, sounds that were never recorded and that have been devoured by the black hole of time…

Work produced and opened by the Maus Hábitos Cultural Center, City of Porto, Portugal.

Concept and poetics of the work

The performer recovers sounds through his memory.
On stage the performer plays: sounds of the first relation with the instrument, the first melody, noises (product of toying with the instrument), playing contemporary music.
This group on sonorities is processed (mix and edition in real time) through a patcher of the MAX msp program designed by the author.

CHELOCO
Play of musical objects

Cellist - actor, dancer, toys and plastic objects

Sound playwriting upon the metaphoric listening of objects

Work produced with a subsidy to artistic creation granted by Instituto Nacional das Artes e Espectáculos INAE , Ministerio de Cultura y Educacao of Portugal, Sociedade Artistica y musical dos Pousos y Festival Melómanos com Fraldas, 2004.
Work opened in this festival.

MUTE & ZOOM IN
Sound performance

Work produced by Kunsthochschule für Medien Köln KHM a residence scholarship for artists granted by Fundación Antorchas. Work opened in Trinitatiskirche Köln,during Altitude Köln 2002 Festival. Ciudad de Colonia, Alemania, julio de 2002.

Sound operator, mix and recordings: JULIO MOLINA Drawings: HEBE URRICELQUI Camera: ROSIBEL SANCHEZ Staging: BERND VOSS Systems Engineer: MARTIN NAWRATH Performer: ALEJANDRO GONZÁLEZ NOVOA

Concept and poetics of the work

This work is dedicated and it is to some extent homage to the group of sonorities that coexist and live together, sometimes as parasites, in the moment of a musician's performance.
Sounds that due to out perception system (selective) are cut or spontaneously inhibited.
In this work we mute Bach's piece. This that is no longer listened by us will give room for several sonorities and noises that were cut before and that are now put in the focus of attention and listening. Sounds that were silenced before but are latent vibrate, shift and that make themselves heard, and we are naming them zoom in.

Mute

Music
Work: Suite n 1 for cello alone by J:S:Bach
In the mute (music disappearance) only the "choreography" of the work is left, the movements of the musician's performance.

Zoom in 1: radio microphones
Breathing- mouth- cough- gestures- unwilling sounds- rustle of clothes- moving and squeak of the chair- shoes on the floor- sounds of the spontaneous contact with the instrument- rubbing of the bow's bristles with the strings- hands and fingers on the cello, the bow, the lid and the bridge.

Zoom in 2: piezoelectric microphones
Internal soul sounds- longitudinal vibration of the harmonic lid- transversal vibration of the bottom- sounds of the movement of the bridge- internal sounds belonging to zoom 1.

Zoom in 3: sensitive stethoscope microphones
The heart- blood flow- breathing- bones- joints.

BUT IT DOES NOT
(pero no acopla)
Sound installation

Electro mechanic engine- sensors- loudspeakers and microphones upon the playwriting of a coupling

Work opened in the Overstolzenhaus Underground of the Superior School of Art in Multimedia, KHM Köln. Colonna, Germany, june 2002.

Voice: CECILIA AMENABAR Drawings and collages: HEBE URRICELQUI Sound technician: JULIO MOLINA Assistant technician: BERND VOSS Systems engineer: MARTIN NAWRATH

Concept and poetics of the work   In a certain place we can see a microphone connected to a wire that goes intermittently up and down getting closer and farther from a loudspeaker that is on the floor. Through the loudspeaker we an hear the hysterical singing of a woman that is apparently in the room wanting and repressing at the same time an intruder who has come in through the window. The coupling that is produced by the microphone acts in parallel to the woman's most dramatic moment and that takes us immediately to the withdrawal from the source (microphone) that is producing the coupling (withdrawal of the intruder?) In the brink of a coupling, no coupling is produced.

GLOSS
Glosa
Sound performance

Work done in collaboration with artist Jorge Macchi

Concept and poetics of the work

How much of its partiality should we take out of an object for this to loose its identity and for us not to be able to recognize the source?
What happens with this partiality of the object that became other one?
It is the case of Glosa where the headlines that had been cut from newspapers loose their identity as objects and through this partiality become other object that can be called analogical scheme, analogical musical characters, analogical sheet music, etc.
As performer and composer of Glosa I found myself with various problems that had to be worked out: the translation of the characters to a musical discourse. Spontaneous silences, gesture and posture indications arose from these signs. Certain signs represent concrete objects of my instrument as well as parts of my body. At the same time certain synesthetic principles were involved.
I must also say that the musical product of Glosa regarding the characters represent in some way all that material (inhibited, cut) that is found at the sides, up or down traditional sheet music. If for instance we take a note with certain duration its graphic representation on sheet music is a partiality of its acoustic reality. Hence, its representation should be more complex, as partialities of characters that we are not able to see but are there.
That is why Glosa is everything that is located at the sides or fringe, as remains of characters that we cannot see. Its sonority is also the waste, what is cut from a sound but re signified in its whole as musical discourse.
To end I will remark the feedback from someone of the audience during the debate…Those absent sounds, the silences, may not they be the silence of the artist in the moment he was cutting off those headlines?

THE SONG OF THE END
La canción del final
Sound video installation

In collaboration with artist Jorge Macchi

Work opened in Ecole National d ¨art et design Site Aubusson, France, April 2002 Work acquired by the Latin American Art Museum of Buenos Aires MALBA

Concept and poetics of the work

In this sound video installation, the art object (movie credits out of focus) acts as a music decoder maybe as a musical box or as a barrel organ. The circularity of the discourse proposes something unending as a big loop.
The texture and the design of the credits are analogical to the sound texture (organum paralelum in thirds, homophonies and polyphonies)
The sound material in one hundred per cent cello with a certain piezoelectric pick up.

CROSSED BIOGRAPHIES
(Biografías Cruzadas)
Sound installation

Work produced by Fundacion Antorchas and opened in the Recoleta Cultural center in Buenos Aires, November 2000.-

Concept and poetics of the work In Crossed Biographies we can see some rusted pipes that were the remains of a cheap hotel. The pipes kept voices, sounds noises of the people that inhabited it in different times. From each pipe intersection hangs a frame which has the biographical data of these people and that will orient us in the listening of each one of these sound histories. From the sound material of these biographies different musical works are composed which are listened through headphones that are placed at the side of each installation. These lost and forgotten biographies are re signified as works, as crossed biographies. Curiously the procedure of this work has to do with the intersection of sound material drawn from fictional histories that then become musical works, two discourse levels that operate in parallel and that are also independent from each other. These two levels that are crossed and in which I experiment are framed as the play that is represented and the sound material and music as that which is presented.

CELLOSONIC GRILLA
(Grilla Chelosónica)
Sound performance

Electronic cello and random effects on dance floor with black light

Work produced with help from Modern Museum of Art of Buenos Aires (MAMBA) and the Institute of Iberoamerican Cooperation (ICI) Work opened in the MAMBA, Buenos Aires October 1998. Idea: Alejandro González Novoa Construction: Eduardo Galvagni

Concept and poetics of the work In a space we can see a huge circuit where the performer plays (going forward or backwards) according to the credits that appear at random in the screen. These have a numerical value and a determined configuration of effects. The number that randomly appears in the credits allows the walking forward or backwards and after the detention in one of the cells of the game where the performer will play music according to correspondent effects configuration.

AND THE BIRD THAT…
Y el Pájaro que…
Sound performance

…Emulates the soloist who emulates the birds that emulate the orchestra that emulates the birds and the soloist that…

Bird in cage, toy bird and sounds of birds produced by the cello electronically processed on electronic sounds.

Produced with the help of the Government of Buenos Aires Province. Opened and produced during the Bahia Electronic Art Festival BAE III 2001 Bahia Blanca city, Argentina, August 2001

Concept and poetics of the work

On the stage we can see those elements that conform an orchestra (chairs, music stands, soloist platform, etc.)
On the soloist platform we can see a chair with a cage on it that has a canary inside.
At the other end of the stage we can see a toy bird on a chair and next to it a cellist.
This work in conceived as the nature of certain elements that pervert and subvert certain established orders.
The cello in its nature and as a machine as well and particularly here in its interpretative perversion emulates the sound of birds. The canary occupies the cello's natural space on stage. The bird obviously responds to its sound nature and not to the space.
The toy bird emulates the real one, it is machine.
The fourth element is the electronic sounds, located at a threshold as musical score (of birds). These sounds pervert and take the place of the orchestra or better of the absence of musicians and their instruments but with the presence of their chairs and music stands.
The entrances are subverted too. First the fade in to the canary immediately to the toy bird, then to the cello and the beginning of the electronic sounds synchronized with the lighting fade in.
I could also say that this work is installed in that which is and that which is not: it is a cello (anatomically) and will be another thing with another interpreter and other with the interpretative approach and its sound extraction. Its sound result is certain sounds that emulate birds and that are not due to its position.
The toy bird is a toy bird but emulates the real one.
The canary responds to its nature but not to the space.
The electronic sounds are the orchestra but this is not here. Its bird sound material is not a bird but music it is not bird music but is the threshold of both of them.