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In 2020, the Museo Moderno’s experimental music cycle provided a new way for us to approach music.
Escuchar [Sonidos visuales] [Listening: Visual sounds] is a cycle by the Museo de Arte Moderno de Buenos Aires that mixes, in more or less equal doses, sound, musical and audiovisual experimentation, research, promotion and advocacy. Curated by Jorge Haro and Leandro Frías, the artistic creations included in the program range from the most radical endeavours to something approaching pop-rock culture, though always from an innovative perspective linked to the use of electronic and digital technologies.
EscucharCLUB is the content for our cycle Escuchar [Sonidos visuales] [Listening: Visual Sounds] that is related to the dancefloor. With the reopening of the Museo Moderno, curators Jorge Haro and Leandro Frías have selected music where rhythms and patterns are dominant elements, in musical styles such as techno, techno-pop, house, and others. This is music to accompany the “movement” this reopening represents, in a sort of step-by-step beat-bit. Let’s dance!
Artwork: Ricardo Laham, Relaciones 7 [Relations 7], 1979, acrylic on canvas, 120 x 140 cm. Donated by the Pacheco-Piñero Foundation, 1980.
Immerse yourself in the sound environments of a tropical rainforest in Costa Rica. Francisco López describes the work as “An amazing natural sound network created by a multitude of sounds of rainfall, waterfalls, insects, frogs, birds, mammals and even plants, over a day during the rainy season. A powerful broadband acousmatic sound environment of thrilling complexity. And above all, a tour de force of deep listening.” Francisco López distinguishes himself from traditional bio-acoustics, which he considers a reductionist approach to field recordings. He opposes sound matter as representation, stating “this is not the jungle”, as he seeks to construct a non-bucolic spectrally broadband world.
Link to album on Spotify
This work is based on recordings made in locations within the Chernobyl Exclusion Zone, Ukraine, nineteen years after the nuclear disaster. Jakob used the same technique for composing the pieces as Alvin Lucier used for his famous piece, I’m Sitting in a Room. The name of each track refers to the space in which the recordings were made. It is poetic and eerie.
Link to album on Spotify
This three-piece work is composed using sound materials captured at the Barents Sea (northern Norway, Russia and Greenland). The base components are sounds captured from deep in the crevasses of the glaciers, the fjords and on the open sea, to which the artist adds recordings from the open expanses of Greenland, of the winds, crows, wild dogs and fish. The work recreates an icy scenario that is little known to humans yet vital to the natural balance of the planet, of a location which is undergoing a phenomenal transformation due to global warming.
Link to album on Spotify
This is the first work in which soundscape artist Chris Watson – an expert in field recordings – combines sound captures taken over time in different natural environments and from which he composes a triptych of sound collages. Weather Report presents three imaginary locations at the core of which is a compression of time, underpinned by the awareness of the influence of the environment on all living things.
Link to album on Spotify
This playlist, designed by the curators of Escuchar [Sonidos visuales], Jorge Haro and Leandro Frías, takes us on a tour of the world through a selection of sounds that celebrate the enormous ethnic diversity and inexhaustible cultural richness that exist on our planet.
Paladar negro [Black Palate] is the name of Playlist #006 of our musical cycle, Escuchar [Sonidos visuales] [Listening: Visual Sounds], wherein the curators Jorge Haro and Leandro Frías present a series of albums with sounds from Africa followed by others that show their transformations/derivations/adaptations on the American continent.
Jorge Haro and Leandro Frías, curators of the Escuchar [Sonidos visuales] [Listening: Visual Sounds] cycle, have compiled this Spotify playlist to present a group of artists working with a variety of aesthetics (electroacoustic, concrete music, noise, electronic) and who have a particular link with some region of our country: birth, choice, emigration.
The playlist contains works by: Juan Namuncurá (Mapuche), Gonzalo Biffarela (Córdoba), Hugo Druetta (Santa Fe), Ricardo Pérez Miró (Santa Fe) (In Memoriam), Elsa Justel (Buenos Aires), Ricardo de Armas (Buenos Aires), Beatriz Ferreyra (Córdoba), Andrea Pensado (Buenos Aires), Francisco Ali-Brouchoud (Misiones), Melmann (Buenos Aires), Jeremy Flagelo (Santa Fe), Juan Sorrentino (Chaco), Tripnik (Chubut) and Yamil Burguener (Chaco).
For the Escuchar [Sonidos visuales] [Listening: Visual Sounds] cycle, curators Jorge Haro and Leandro Frías have prepared a playlist with a series of albums published on Spotify by members of the so-called “Argentinean experimental sound community”. It presents an active body of aesthetics from outside the spaces legitimised and visualised by the cultural industry and which have an innovative spirit, generating “sonic novelties” that, for more than twenty years, have provided the basic material for the programming of the Museo de Arte Moderno. The playlist ranges from materials from the 1980s to sounds produced today.
The curators of the Escuchar [Sonidos visuales] [Listening: Visual Sounds], Jorge Haro and Leandro Frías, present music to accompany our week. They suggest three volumes of “Soothing Sounds for Baby” by the North American composer, pianist, producer and inventor Raymond Scott; the traditional recreational/educational album “Concierto familiar infantil” [“Family concert for children”] by the Orquesta Sinfónica de Minería (Mexico); and two notable productions by Argentine composer and teacher Judith Akoschky, a specialist in didactics and musical initiation: Cuadros Sonoros (Volumen 1) [Sound Paintings (Volume 1)] and Ruidos y ruiditos (Vol. 2) [Big and Little Noises (Vol. 2)].
You can also explore the Biophilia application created by Icelandic singer Björk and interactive artist Scott Snibbe, in collaboration with other creators, designers, scientists, instrument makers and software developers. It is one of the elements that make up the artist’s 2011 release, which combined recorded music, applications, internet activities, installations and live concerts. You can access the application via this link and enter the world they have created.
The application is available for iOS and Android.
To this audio content, the curators have also added the following audio-visual links, which are recordings of Escuchar MINI [Listening MINI], the participatory sound experiences Escuchar [Sonidos visuales] [Listening: Visual Sounds] organizes for children.
Ludotecnia, by Jorge Crowe, with visuals by Loli Mosquera (2016) El elefante [The Elephant], by Nicolás Diab and Daniela Muttis (2017).
To this audio content, the curators have also added the following audio-visual links, which are recordings of Escuchar MINI [Listening MINI], the participatory sound experiences Escuchar [Sonidos visuales] [Listening: Visual Sounds] organizes for children.
his week, Escuchar [Sonidos visuales] [Listening: Visual Sounds] is dedicated to humour, with this playlist that focuses on the rock/pop/electronic style and on video clips as an audiovisual and broadcasting/promotional format. It is a journey that presents some pieces that have made history as well as some more recent ones. All of them are humorous – in a subtle or in your face manner – as a means of amplifying the senses. Enjoy dances, performances, costumes, animated dolls, effects, subtleties and the odd bizarre detail.
Curators: Jorge Haro, Leandro Frías
This week, Escuchar [Sonidos visuales] [Listening: Visual Sounds], curated by Jorge Haro and Leandro Frías, offers a playlist to approach the notion of silence from the point of view of the sound arts. A journey of sound and visual contrasts.
Sound and silence, so often separated and classified as opposites, are nothing more than two forms of the physical world of vibrations. Discrete or ostentatious.
The experience begins with a nineteenth-century space of the “sounds to come”; passes through the overcrowding of circuits and the sound density of a boiler room filled with noise into a deep listening experience as proposed by the fixed image of a CD cover. It then continues with words about the world of vibrations and ends in the stillness of a studio caressed by the wind.
Silence in words and in sounds
This week’s playlist provides 90 minutes of listening that includes the three pieces that make up “surfaces”, a work by American composer Richard Chartier. This is followed by Nerve Cell-0, by the renowned composer Zbigniew Karkowski. It is a listening experience that begins at the edge of the humanly audible (silence?) and continues in contrast with full sound.
Sound and silence; one and the same thing.
This playlist is compiled by the curators of the Festival Escuchar [Sonidos visuales] [Listening: Visual Sounds], Jorge Haro and Leandro Frías, and adds to the Museo Moderno en Casa theme of the week. It presents a journey through vocal works composed of unavoidable, cult experimental works, the complex textures of The Bulgarian Voices, pop approaches, Zen and ancestral music.