Adriana Sá e John Klima

Lugar Elástico

Jardim do Goethe-Institut

25 Set. 18h30

Os sons da cidade reverberam em diálogo com um instrumento de cordas tocado a quatro mãos, com arcos de violino, baquetas, elásticos e sliders. Este instrumento – o sandcastle – foi construído com diversos materiais reciclados. Tem uma ressonância extraordinária, prolongando sons graves e plenos de harmónicos por muito tempo. Um software desenvolvido pelos artistas também processa sons pré-gravados com base na análise do som que produz.
Por vezes os sons instrumentais tornam-se protagonistas, e outras vezes diluem-se na paisagem sonora; as frases musicais emergem da combinação. A escala individual cresce e decresce, emerge e submerge, foge e reaparece. Como as relações mutáveis do ego com o mundo.

Urban sounds reverberate within a dialogue with a string instrument played with four hands, as well as violin bows, drumsticks, rubber bands and sliders. This instrument – the sandcastle – was built with diverse recycled materials. It has an extraordinary resonance, extending bass sounds rich in harmonics for a very long time. A software developed by the artists also processes pre-recorded sounds based on the sound it produces.
At times the instrumental sounds become protagonists, and other times they dissolve in the soundscape; the musical phrases emerge from this combination. The individual scale grows and shrinks, emerges and submerges, escapes and reappears. Like the mutable relations between the ego and the world.

Adriana Sá

http://adrianasa.planetaclix.pt

Adriana Sá é artista transdiciplinar, performer, música-compositora. Desenvolve os seus próprios instrumentos e sistemas, combinando tecnologias analógicas e digitais, assim como gravações de campo. Foi pioneira na utilização de sensores para explorar o som ligado à luz, espaço físico, metereologia, movimento e contexto social. Mais tarde desenvolveu diversas versões de um instrumento que inclui uma zither (instrumento de cordas ancestral) e um software 3D reactivo, que processa sons pré-gravados e imagens com base no som da zither.
Desde 1997, apresentou inúmeras performances e instalações na Europa, EUA, Japão e Brasil. Em Portugal actuou em espaços como a Fundação Calouste Gulbenkian, a Culturgest, a Casa de Serralves, o Teatro Maria Matos, o Teatro Rivoli e o Teatro do Bairro Alto, entre muitos outros. Na Europa, apresentou trabalhos no Arteleku (Espanha), no Monty (Bélgica), no ICA-Institute for Contemporary Arts (UK) e no Huddersfield Media Center (UK), e.o. Nos EUA, apresentou na Experimental Intermedia Foundation, no PS1/MoMa e no Eyebeam, e.o., e no Japão, no Aomori Contemporary Arts Center. Participou igualmente de festivais como o LEM (Espanha), o Ultrasound (UK), o Atlantic Waves (UK), a Bienal Luzboa, o festival Lisboa Soa (Portugal), o xxxxx (UK), o Sonorities (Irlanda), o NIME- New Instruments for Musical Expression (USA e UK), o Version Beta (Suiça) e o Novas Frequências (Brasil). Ligando prática criativa e ciências da percepção, obteve um doutoramento em Arts and Computing (Goldsmiths, University of London) e publicou em diversas revistas científicas. Actualmente também lecciona na Universidade Lusófona e na ESAD.CR..

Adriana Sá is transdisciplinary artist, performer, musician-composer. She develops her own instruments and systems, combining analogue and digital technologies as well as field recordings. She was a pioneer in the use of sensor technologies to explore connections between sound, light, physical space, meteorology, movement and social context. Later, she developed several versions of an instrument that includes a zither (ancestral string instrument) and a reactive 3D software that processes pre-recorded sounds and images based on the zither sound.
Sá has been presenting performances and installations in Europe, USA, Japan and Brazil since 1997. In Portugal she performed in venues such as Calouste Gulbenkian Foundation, Maria Matos Theatre, Culturgest, Serralves Foundation, Rivoli and Bairro Alto Theatre, amongst many others. In Europe, her work was presented at Arteleku (Spain), Monty (Belgium), ICA-Institute for Contemporary Arts (UK) and at the Huddersfield Media Center (UK), a.o. In the EUA she presented at Experimental Intermedia Foundation, PS1/ MoMa and Eyebeam, a.o., and in Japan at the Aomori Contemporary Arts Center. She equally participated in festivals such as LEM (Spain), Ultrasound (UK), Atlantic Waves (UK), Bienal Luzboa (Portugal), Lisboa Soa (Portugal), xxxxx (UK), Sonorities (Irland), NIME- New Instruments for Musical Expression (USA and UK), Version Beta (Switzerland) and Novas Frequências (Brazil). Bridging creative practice and perception science, she obtained a PhD in Arts and Computing (Goldsmiths, University of London) and published in several scientific journals. Currently she is also a professor at Lusófona University and ESAD.CR.

John Klima

http://www.cityarts.com

John Klima desenvolve trabalhos artísticos com uma variedade de tecnologias, utilizando elementos electrónicos, hardware e software. Os seus trabalhos foram apresentados nos EUA, Europa e Asia. Nos EUA expôs na galeria Postmasters, no DeCordova Museum, no Whitney Museum of American Art, na Whitney Biennial, no Eyebeam, no New Museum of Contemporary Art, PS.1, e no Brooklyn Museum of Art. Na Europa expôs no Museo Extremeño e Iberoamericano de Arte Contemporáneo (Espanha), Laboral Centro de Arte y Creacion Industrial (Espanha), La Casa Encendida (Spain), Centre Pour L’Image Contemporaine (Suiça), e no Museum for Communication (Suiça), e muitos festivais na Europa. Na Asia expôs no NTT InterCommunication Center (Japão), no Daejeon Municipal Museum (Koreia). Os seus trabalhos foram adquiridos por coleccionadores privados e por museus. É mencionado em vários livros como pioneiro das artes media digitais. O seu trabalho mais recente foca-se no som e na música. Fundou o “Scratchbuilt Studios” em Lisboa, onde tem gravado inúmeros projectos musicais.

John Klima employs a variety of technologies to produce artwork with hand-built electronics, computer hardware and software. He has exhibited extensively in the United States, Europe and Asia. In the US he exhibited at Postmasters Gallery, at DeCordova Museum, at the Whitney Museum of American Art, at the Whitney Biennial, at Eyebeam, at the New Museum of Contemporary Art, PS.1, and at Brooklyn Museum of Art. In Europe he exhibited at the Museo Extremeño e Iberoamericano de Arte Contemporáneo (Spain), Laboral Centro de Arte y Creacion Industrial (Spain), the Museum for Communication (Switzerland), Centre Pour L’Image Contemporaine (Switzerland), including many festivals across Europe. In Asia he exhibited at the NTT InterCommunication Center (Japan) and at the Daejeon Municipal Museum (Korea). His works have been acquired by private collectors as well as museums. Several books describe him as a groundbreaking pioneer in the field of digital media art. Recently, Klima has been focused on sound and music, opening “Scratchbuilt Studios” in Lisbon, where he has recorded countless musical and experimental sound projects.