Over the past few years I have been part of an interdisciplinary project with the Mexican composer Ivan Ferrer Orozco and the Spanish video-artist Iván Puñal García. The project consists on a series of performances / installations / works entitled Universes that combine visual and aural elements with live music through the interaction of all the the involved creative dimensions. At at time when dystopian narratives have become trendy again, after the last mid-century’s craze, and permeate a significant part of contemporary culture (from TV series such as Black Mirror to novels such as Suzanne Collins’ 2008 Hunger Games) this project represents a form of reflective optimistic dystopia. The series take their name from the work of the American ethologist John B. Calhoun, which is approached from a critical perspective. Calhoun’s interest on the impact of overcrowding on behavioral patterns and his notion of “behavioral sink” become fundamental intellectual milestones that ground our reflection. Such a critical reading of his work and writings is combined with an interest on garden structures and growth patterns as well with a general exploration of the Derridean critique of the notion of frame as a parergon, as that boundary between the art work and its background and context that guarantees its metaphysical autonomy.
This vertical Universe is a site-specific proposal for HBKU. The project would combine the projection of Honk Kong-related visual material, employing both pre-recorded and live streamed material, with specifically composed music employing live electronics. Beyond the live interaction of sound and video and its projection on a large vertical wall, the violin would interact with a vertical plotter that would draw and delete material, generating a further level of live-manipulation. The plotter could be easily created using Arduino and would have a similar design to the already existing Scribit.
This is our most recent Universe. The work on Universe M will start in the month of August at the abandoned monastery of Montederramo in the northwestern part of Spain. Universe M dilutes the notion of the frame creating an open environment in a closed space. A central screen, built as a quadrangular multi-projected totem, will be placed inside the monastery’s abandoned cathedral. The video material will reflect on the architectural and relational structures of Hong Kong. The electronic music and live-electronic manipulation will reciprocally interact with the video output. The violinist will be presented as a reality inside the totem, as a secondary presence, and his music will also interact with a selection of elements generating a further layer of the inside/outside dualism that the project aims to reverse, dilute and mimic.
Iván Ferrer Orozco
Iván Ferrer Orozco
Iván Ferrer-Orozco (Mexico City, 1976) is a composer, laptop improviser and electronics sideman. His music has been performed at several concert series, festivals and solo concerts in Europe, America and Asia. He has been artist in residence at La Residencia de Estudiantes (Spain), Camargo Foundation (France), I-Park Foundation, MacDowell Colony, VCCA and Djerassi (USA), Arts Centre of San Luis Potosi and CMMAS (Mexico), Hooyong Performing Arts Centre (South Korea), Park in Progress – ARTos Foundation (Cyprus, 2014), Schleswig-Holsteinisches Künstlerhaus and Oberpfälzer Künstlerhaus (Germany), Ibermúsicas (Argentina), FONCA – CALQ (Canada). He was guest composer at the Conservatory of Music of Montreal in 2003-2004, and resident composer of the Contemporary Ensemble of Montreal (2004) and of the argentinian Tropi Ensemble (2019).
He has been awarded at several calls of works: A Tempo Ensemble-CMMAS (México, 2018), 43rd International Computer Music Conference (South Korea, 2018), IV and II Electroacoustic Music Festival UC (Chile, 2016, 2018), Seoul International Computer Music Festival (South Korea, 2016), Sonosintesis Festival (Mexico, 2016), LEMATS (Spain) and the University of Montreal (2014), the MATA Festival (USA, 2011), the San Diego New Music Festival and the NOISE Ensemble (2010), and at the Seattle Latin American Music Festival (2008). In 2014 he was invited to participate at the European Night of Young Creation in Cyprus, and in 2010 to be artist in residence at the III Iberoamerican Art Exhibition in Mexico. At present he is director and producer of InterAcciona, platform that comprises different activities related to art creation and new media; electronic media, sound and production manager of NEOPERCUSION ensemble; arts consultant at Acelerador de Artistas; and lecturer on audio design, digital arts and interactivity at IED-Madrid (Spain). He is a very active electronics media perfomer and sideman. He regularly performs in Spain and abroad as soloist, and as sideman of other soloists and ensembles such as RTVE Orchestra, Pilar Fontalba, Juanjo Guillem, Nicholas Hodges, Eun Hye Kim, Vertixe Sonora Ensemble, Pablo Coello, Anna Margules, among others.
Iván Puñal García
Iván Puñal García
Iván Puñal was born in Madrid in 1975. Between 1993 and 1999 he undertakes a Bachelor in Architectural studies at the Polytechnic University of Madrid while studying Japanese at the Oficial Language School. In 1997 he received a scholarship from the Japan Foundation for a residency at their Kansai Study Centre. Between the years 2000 and 2019 Iván worked in different public and private companies as a technical architect.
From 2013 he starts to work on audiovisual projects, at first through his connection to architecture, working as a photographer and independent producer. In 2015 he abandoned his architectural career to center on his artistic audiovisual production. At present, he combines his work as an advertisement producer with the creation of experimental audiovisual contents, employing generative programming systems based on algorithms through the combination of tools such as MAX/MSP, Arduino, Processing, Touchdesigner, GLSL and Python programming languages and diverse recording devices such as drones, aquatic cameras or tape recorders.