FOSSA ABISSAL – 2º Momento
1 Agosto a 11 Agosto
«FOSSA ABISSAL» – 2nd Moment
1-11 August 2024, 16:00-20:00
With: Angela Fonseca, Laura Soares, Beatriz Neto, Diogo Mendes
Performances (August 1st – 6pm): Débora King, João Neves
Guided tour: August 1st, 5pm
Performances (August 1st – 6pm): Débora King, João Neves
Guided tour: August 1st, 5pm
Organized in a partnership between Zaratan - Arte Contemporânea, the Post-Graduation in Sound Art and the Associação Goela, “FOSSA ABISSAL” is a bipartite event held over two months as part of the 6th edition of the Post-Graduation in Sound Art: Experimental Processes at the Faculty of Fine Arts of the University of Lisbon.
It intends to publicly expose various artistic explorations that use sound as a material to be problematized, debating its physical, material, conceptual and ontological properties — interconnecting it with multiple dimensions that are sometimes equally artistic, sometimes cultural, social and political.
On the occasion of the opening of the second moment of the exhibition “FOSSA ABISSAL”, we present a guided tour and two sound performances by João Neves and Débora King.
João Neves presents an exploration of drum timbres, frequencies and textures through beats modulated by feedback and distortion. Débora King will recreate the sound environment of an abyssal pit through a synthesizer.
The visit around the creative imagery and pieces that make up the exhibition is led by the artists themselves and mediated by postgraduate teachers and has interpretation in LGP.
It intends to publicly expose various artistic explorations that use sound as a material to be problematized, debating its physical, material, conceptual and ontological properties — interconnecting it with multiple dimensions that are sometimes equally artistic, sometimes cultural, social and political.
On the occasion of the opening of the second moment of the exhibition “FOSSA ABISSAL”, we present a guided tour and two sound performances by João Neves and Débora King.
João Neves presents an exploration of drum timbres, frequencies and textures through beats modulated by feedback and distortion. Débora King will recreate the sound environment of an abyssal pit through a synthesizer.
The visit around the creative imagery and pieces that make up the exhibition is led by the artists themselves and mediated by postgraduate teachers and has interpretation in LGP.
“In the middle of the deep ocean there are vertical corridors of water that sink into transparency, losing sight in the vastest accumulated darkness of the tides.
On planet Earth, the Mariana Trench in the South Pacific is the deepest point in the ocean, approaching eleven kilometers below sea level. There, light does not reach, living beings are rare and the average temperature is around two or three degrees Celsius: this is a life haunted by darkness. It is, therefore, an inhospitable, uninhabitable place, like a desert, a glacier or any other point in interstellar space.
Inhabiting an idea of disintegration, of ruin, can simultaneously bring us closer to a pre-existing fatalism or not. The way we chip away at matter with punctual incisions, how we use earth as a moldable material for acoustic purposes or how we thoroughly control electricity between flashes and darkness so that the spectator can freely unlock the audible, are premises that cross and scratch this exhibition in advance.
Just as we are commonly invited to permanent day-to-day vigilance and enroll ourselves in a perpetual loop of complicities and coexistence, how can we present a possible counterpoint, which gives permission to listen to the resonances imprinted on the stones we step on, tiptoeing, making feel the weight of your body, on the minimally crusty ground.
If in the end, we really tried to reproduce the sound of these abyssal oceanic trenches, to name them in the form of a synthesis, by our fingers pressing the keys, and we domesticated small electronic animals born from mundane waste, to remind us that: for any possible erasure is always allowed to unplug, not charge, let the batteries oxidize or finally, simply fall, fainting, to experience how deep the abyss can be when bent, to let it come to the top, any regression exercise, like if yesterday and today, the posthumous future had never been written...” [D.A.P]
SUPPORT | República Portuguesa – Cultura / Direção-Geral das Artes