Sound Immersion A journey through various types of music
Immerse yourself in a collection of sounds ranging from situated music to jazz and electronic music, to algorithmic music and cosmic sounds, among others.
Lorem Ipsum. Empathetic Listening
With the collateral effects of the pandemic still fresh in the collective psyche, the fifth edition of Lorem Ipsum wanted to celebrate the fact that we can once again be together and mix with people, in an exercise of pure collective awareness. Partying and listening empathetically occupy centre stage in our invited projects. This cannot be just one more celebration: what happened, happened, and the uncertainty that came with it forces us to rethink what this ‘getting together’ means.
Up and down the stairs
‘Work on good prose has three steps: a musical stage when it is composed, an architectonic one when it is built, and a textile one when it is woven.’
Walter Benjamin, One-Way Street, 1928
Taking Walter Benjamin’s quote as a cue, we could say that the artist Teresa Lanceta adds music, architecture and textiles to her work, suggesting a choreography, a body or several bodies tying gestures, politics and spaces together. On this occasion Teresa Lanceta and Pedro G. Romero joined forces to present Up and down the stairs, a live performance that featured the participation of dancers Javiera de la Fuente, Fuensanta ‘La Moneta’ and Ana Morales. This activity was within the framework of the Teresa Lanceta: Weaving as Open Source exhibition.
Son[i]a #346 Jessica Ekomane
Jessica Ekomane is a sound artist and composer, and a lecturer in Sound Studies and Sonic Arts at the Universität der Künste Berlin. Ekomane’s quadraphonic performances and installations approach algorithmic/computer music as a social practice that is grounded in questions such as the relationship between individual perception and collective dynamics, and explores listening expectations and their societal roots.
The Lyrical Sound of the Blues
In his work, Basquiat often referred to the music and musicians he admired, as in King Zulu (1986), a painting featuring three great American jazz trumpeters: Bix Beiderbecke, Bunk Johnson and Howard McGhee. The canvas also shows a black-painted face inspired by Louis Armstrong, characterised as the King of the Zulus at the New Orleans Carnival Parade in 1949.
Let’s sound... Repair Manuals and Cosmic Sounds
Repair Manuals and Cosmic Sounds is an expanded exhibition proposal that looks to the past to find experimental and collective forms of self-publishing. Besides printed publications, the exhibition also includes sound editions. So, the programme Let’s talk about... is thus transformed into Let’s sound with... to approach the exhibition from a perspective of listening, in a vindication of music as a catalyst.
Son[i]a #339 Aho Ssan
Aho Ssan is a French musician of Ivorian and Ghanaian descent who has been involved in graphic design and film works under his given name, Desiré Niamké. These practices, like his multiple identity, resonate in his music. In February 2020, Aho Ssan released his debut album Simulacrum, just before the state of alarm in Europe, the lockdown, and the protests of the Black Lives Matter movement in the wake of George Floyd’s death in the USA: a fitting backdrop for a close listening of Simulacrum.
Tony Cokes. Music, text, politics
With his videos, Tony Cokes explores and subverts the cultural and political discourses embedded within pop music, electronica, art, television and film. Through his works, such as Black Celebration (1998) and Fade to Black (1990), he pays close attention to themes including racial representation (the simultaneous hyper-visibility and invisibility that affects black subjectivity) and the context of late capitalism, in his words ‘representational regimes of image and sound’.
Lorem Ipsum. Situated Music
The fourth edition of Lorem Ipsum, scheduled for 2020 was cancelled because of the pandemic. Even with the restrictions, but with a greater drive than ever before to come together, we persisted in our desire to open this space to voices, bodies and practices that are extremely personal, painstaking and complex. With an increasingly clear awareness of who is speaking, how and from whence we speak, in this instalment of Lorem Ipsum our sights were set once again on approaches from the margins of music and play.
