{"id":9002,"date":"2020-05-25T11:05:00","date_gmt":"2020-05-25T14:05:00","guid":{"rendered":"https:\/\/museomoderno.org\/la-voz\/"},"modified":"2023-06-12T15:17:06","modified_gmt":"2023-06-12T18:17:06","slug":"voice","status":"publish","type":"post","link":"https:\/\/museomoderno.org\/en\/voice\/","title":{"rendered":"The voice"},"content":{"rendered":"\t\t
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The voice<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Voice and I<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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We are experiencing a re-emergence of the vocal power of humanity. The voice has grown stronger than it was before. It is not just a medium for language but a mark of identity with its different tones, timbres and registers. It brings an important facet of other people back into the present. There it is; in the voice, which our civilization has coded with emotions: cries of anguish, shouts of joy, the hesitancy of fear. The unique characteristics of the voice bring us closer together and help us to make contact with the sounds of others and everything they need to convey. The voice, in contrast to writing, is both message and body, thought and action, lending a new presence to human emotions.<\/p>

As a medium for experimentation, the voice is also malleable material for the creation of sounds and rhythms, a tool with which to question language, a way of bringing remote voices from history into the here and now and a means of reaching places barred to the eyes.<\/p>

The visual arts have spent over a century incorporating the sounds emitted by the voice as a material, building a better path to understanding the senses as fully as possible. Be it through oral poetry, how it overlaps with natural sounds or remembering that it is our oldest tool of expression, today the voice occupies a fundamental role in the interests of contemporary art. Aware that their voice is actually the accumulation of a long line of voices, the artist\u2019s job is to establish a dialogue with the past through inherited forms, the present through the aesthetic choices of their contemporaries and society through projections of its future, making art an echo chamber that makes room for and amplifies all the voices that co-exist in our ears.<\/p>

This week we have decided to focus on artworks and artists that explore the potential of the voice in a profound manner. Through them, we ask: How many different ways can the voice transmit emotional substance? What do the eyes see when they follow the path of sounds? How many and which voices make up the polyphony of an artistic event?<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00a0Curatorial staff at Museo Moderno<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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vana Vollaro, Alfaboca: miniclips voc\u00e1licos, 2004, DVD, 4\u2019 20\u2019\u2019 (selecci\u00f3n). En colaboraci\u00f3n con Lenora de Barros y Arnaldo Antunes.<\/p>

Alfaboca (clips po\u00e9ticos, m\u00ednimos e independientes entre s\u00ed) es una “conversaci\u00f3n perform\u00e1tica” de dos lenguas latinas muy pr\u00f3ximas, el espa\u00f1ol y el portugu\u00e9s. Navegando por las fronteras sonoras entre estos idiomas, los clips exploran la dimensi\u00f3n visual de la voz, la palabra y el silencio. Realizada durante una residencia de la artista en San Pablo, Alfaboca indaga de manera l\u00fadica sobre la traducci\u00f3n y las proximidades ling\u00fc\u00edsticas (culturales y afectivas) entre argentinos y brasile\u00f1os.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Ivana Vollaro (Buenos Aires, 1971) es artista visual. Estudi\u00f3 Artes y Derecho en la Universidad de Buenos Aires. A principio de los a\u00f1os noventa asisti\u00f3 al taller de Mirtha Dermisache. Entre 1997 y 2008 colabor\u00f3 con el proyecto V\u00f3rtice de poes\u00eda visual, experimental y sonora. En 2003 obtuvo la Beca Antorchas y se mud\u00f3 a San Pablo. En 2012, realiz\u00f3 la residencia Capacete en R\u00edo de Janeiro. Ivana trabaja sobre los v\u00ednculos entre la palabra y la imagen, indagando en las fronteras de las formas, el lenguaje, la traducci\u00f3n y los errores y desencuentros que generan esos l\u00edmites. Entre sus exhibiciones individuales se destacan: Una rosa, es una (2018), HACHE Galer\u00eda, Buenos Aires; Sala Vip (2013) y Limites e deslizes (2009) ambas en Galeri\u0301a Laura Marsiaj, Ri\u0301o de Janeiro; Vermello, Galeri\u0301a Vermelho, San Pablo (2008); X-Tudo, Centro Mariantonia-USP, San Pablo (2007).<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Fr\u00e1gil flor [Fragile Flower]
Video
2′, 10″
Mariano Gil
Bass flute, voice, art and animation
Zeke Zima
Guitar, loops and mixing
Manu Salom\u00f8n
Video editing
Seda Anac
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Mariano Gil on Fr\u00e1gil flor: This project grew out of a collaboration with Zeke, who I met in 1987 when we arrived at Berklee (Boston, USA) to study. During quarantine he sent me a loop, and I added flutes and vocals, and decided to incorporate a clip of Yanis Varoufakis, which I liked both for its content and the tone of his voice. Zeke applied the finishing touches and did the final mix. Meanwhile I got a pleasant surprise: an invitation from Victoria Noorthoorn to take part in the Museo Moderno\u2019s online content. With the help of Manu Salom\u00f8n we combined videos and animations, and this was the result: our collaboration for the theme The Voice… let the inner voice guiding us towards a more collaborative and loving world be heard. A huge thank you to all those who have taken part, and to Victoria Noorthoorn and Gaby Comte for their invitation and assistance. Specially made in Brooklyn, May 2020, for the Museo de Arte Moderno de Buenos Aires.<\/p>

BIOs –<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Mariano Gil was born and raised in Buenos Aires, Argentina, where he graduated as a doctor. He never lost his passion for music, leading him to study flute with Alfredo Ianelli. In 1987 he moved to Boston on a scholarship from the Berklee College of Music. In 1993 he moved to Brooklyn, New York, where he has lived ever since as an active member of the art and music community. He has taken part in musical events and recordings with Kurt Rosenwinkel, Ben Street, Ethan Iverson, Chris Cheek, the Go Organic Orchestra, the Butch Morris Orchestra, Aaron Parks, Leo Genovese and other prominent musicians. As a visual artist he has been published by the New York Times. He has also produced dozens of album covers, participated in live paintings with Esperanza Spalding and exhibited his work at various New York galleries. Music has been an integral part of Zeke Zima\u2019s life ever since he developed the use of reason. Born and raised in Buenos Aires, he moved to the United States to study at Berklee College of Music in Boston. After graduating in 1992, he moved to New York City, where he is an active member of the music community. As a guitarist he has collaborated with musicians like Marcy Playground, Brazilian Girls, Meshell Ndegeocello, Elodie Ozanne, Nic Thys, Me And The Other Guy, The Sun, the Butch Morris Orchestra, Diego Garc\u00eda, Natalia Clavier (Thievery Corporation) and Wax Poetic (Nublu).<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Lenora de Barros<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Ri-Chora [Laugh\/Cry] Ri-Chora was born as a manuscript in coloured biro in 1975. What I remember is that I began writing with the intention of expressing in calligraphy the feeling of laughter, the belly-laugh, working in the world of interjections and onomatopoeias. The act of \u2018crying with laughter\u2019 became the leitmotif: to make a visual<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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poem that expressed those hybrid feelings that are somehow strange and, on paper at least, paradoxical. I still remember, at the time I composed the first block, the \u2018laughter\u2019 block, the arrangement of the interjections soon brought me back to the \u2018visual sound\u2019 of weeping \u2013 I had the insight that opposing sentiments could be expressed through the same sounds \u2013 and all that differentiated them were the emotions of happiness and sadness.<\/p>

Unfortunately, I don\u2019t have that first calligraphic draft anymore. In 1976 I was invited to take part in the alternative journal Qorpo Estranho, edited by Julio Plaza, R\u00e9gis Bonvicino and Pedro Tavares de Lima, where I first published Ri-Chora and decided to display it in a typeset version, exactly as it had been presented in the group show curated by Fernanda Brenner, Riso e L\u00e1grima n\u00e3o tem sotaque [Laughter and Tears Have No Accent], for Camden Council in London in 2016. In that case the visual appearance that gives the poem its meaning isn\u2019t exactly what\u2019s revealed by the chosen typography, but the mirror composition of the text is, as are the words \u2018ri\u2019 (laughs) and \u2018chora\u2019 (cries) at the top of each block as a kind of imperative inflection.<\/p>

The recording of the voice performance of Ri-Chora was made in 2016, arranged by the musician Cid Campos (MC2 Studio), who I\u2019ve been working with since 1994.<\/p>

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Lenora de Barros<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Escrever por Dentro<\/em>\u00a0[Write Inside<\/em>], 2005
Voice Performance: Lenora de Barros –\u00a0Sound Treatment: Hilton Raw<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Voice performance by Lenora de Barros, with sound treatment by Hilton Raw,
filmed in 2005 for the exhibition\u00a0N\u00e3o quero nem ver<\/em>\u00a0[I Don\u2019t Even Want to See<\/em>],
at the Pa\u00e7o das Artes, S\u00e3o Paulo.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Eu nao disse nada<\/em>\u00a0[I Didn\u2019t Say Anything<\/em>]<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Photo performance by Lenora de Barros made in 1990 in Milan for the artist\u2019s first
solo exhibition,\u00a0Poes\u00eda \u00e9 coisa de nada<\/em>\u00a0[Poetry Means Nothing<\/em>], at the Mercado
Del Sale gallery.
Photography: Marcos Augusto Gon\u00e7alves<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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The visual poem\u00a0minimosom<\/em>\u00a0[minimumsound<\/em>], from which this project emerged, was created
by computer graphics in 1983 for the show Arte em Videotexto, curated by Julio Plaza at the
17th Bienal de S\u00e3o Paulo. It also appears in my first book\u00a0Onde se v\u00ea<\/em>\u00a0[Where You Can See<\/em>], 1984.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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In 1976 I got the chance to read a text by Russian linguist Roman Jakobson, which I found stimulating and got me thinking about \u2018fundamental sounds\u2019. In his essay \u2013 the title of which I can\u2019t remember unfortunately \u2013 Jakobson alludes to the curious coincidence that the word for mother in several languages starts with the bilabial sound \u2018m\u2019. This, he claims, might be related to our first repetitive lip movements suckling at our mother\u2019s breast, movements that may be behind the first sounds we make. The word \u2018mummy\u2019 is also more often than not among the first words we utter when we take our first steps in speech, along with its sonic variants \u2018mum\u2019, \u2018mamma\u2019 etc.<\/p>

The idea of the voice performance arises out of the climate of 2010, with sound designed by the musician and composer Cid Campos (MC2 Studio). It\u2019s also inspired by a children\u2019s game where I would try and utter a sound fragment, a minimal noise, \u2018a snatch\u2019, a sound \u2018sliver\u2019, and would spend hours obsessively hunting down that (im)possible sonority in my voice. The almost perfect Portuguese palindrome, \u2018ominimosomminimo\u2019 [literally, the minimum minimal sound], is pronounced the same in either direction; the letters o and m stand out visually and sonically, and when multiplied, may perhaps draw our attention to a sonic aspect of oral language minimum minimorum.<\/p>

om\u00ednimosomm\u00ednimoom\u00ednimosom<\/p>

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Voice performance by Lenora de Barros, with sound treatment by Hilton Raw, filmed in 2005 for the exhibition N\u00e3o quero nem ver [I Don\u2019t Even Want to See], at the Pa\u00e7o das Artes, S\u00e3o Paulo.<\/p>

Illustrator: Augusto de Campos, Todos os sons [All Sounds]<\/p>

–<\/p>

Lenora de Barros is a Brazilian artist and poet. She studied linguistics at the University of S\u00e3o Paulo before establishing herself as an artist in the 1970s and has remained committed to exploring language through a variety of media, including video, performance, photography and installation. Barros began her career producing visual poetry. Her early works were influenced by concrete poetry, particularly the Noigandr\u00e9s Group, incorporating body art, pop art and conceptual art techniques. Her work has evolved to focus on the sonority of words, particularly through sound installations and voice performances.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Narcissa Hirsch.\u00a0Taller<\/em>\u00a0[Studio<\/em>], 1971, 16mm colour film, 10′ 00″
Direction: Narcissa Hirsch English Version with Horacio Maira Camera: Narcissa Hirsch<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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In this key piece of the history of Argentinian experimental cinema Narcissa
Hirsch paints a portrait of her life, memories and career as a film-maker. While
the frame of her camera remains fixed on one of the walls of her studio, a
voice-over of the artist relates the objects and images we can see and those
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Arnaldo Antunes. Aga<\/h5>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Ag\u00e1 [Aitch]. A poem from 1997, appearing in Dois ou mais corpos no mesmo espa\u00e7o [Two or More Bodies in the Same Space] (Editora Perspectiva, S\u00e3o Paulo). A recording of the performance staged in 2016, at the SESC Palladium, Belo Horizonte.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Arnaldo Antunes was born in S\u00e3o Paulo in 1960, when Oswald de Andrade\u2019s Anthropophagy and Haroldo de Campos and D\u00e9cio Pignatari\u2019s Concretism movements formed part of the everyday landscape of Brazilian culture, and Caetano Veloso and Gilberto Gil were taking their first steps in Tropic\u00e1lia fusion. Poetry, music, visual art, performance are just a few of the many terms we can use to identify the contraband of signs that defines Antunes\u2019s work. He is genuinely unclassifiable figure who has made the slippage between languages the cornerstone of his creative procedures. He has more than ten book titles to his credit and a prolific musical career as a soloist, band member with Os Tit\u00e3s and Tribalistas, and has collaborated with musicians like Laurie Anderson, David Byrne and Ryuichi Sakamoto. His work displays an unusual talent for combining daring avant-garde experiments with the aesthetics of popular culture, both in his records, books, performances and visual works, and in his installations, videos or concerts.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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