SIDERAL

2016
Gilberto Esparza y Marcela Armas en colaboración con Daniel Llermaly y el Instituto de Astronomía de la UNAM.

SIDERAL una serie de articulaciones sonoras que proceden de la lectura e interpretación del campo magnético local modificado en la superficie de meteoritos caídos en diversas partes de la Tierra.

La serie se inaugura con un meteorito metálico de 3.3 toneladas llamado La Concepción o Adargas que fue transportado de la Sierra de Adargas en Jiménez, Chihuahua el 29 de abril de 1780 hacia la cercana Hacienda de La Concepción. El Instituto de Astronomía de la UNAM tiene su custodia desde 1976. Después de 40 años, este meteorito es removido del vestíbulo del Instituto, para ser trasladado temporalmente a la Capilla del Señor de Santa Teresa en el Museo Ex Teresa Arte Actual en Ciudad de México.

Construimos el primer prototipo de un instrumento que tiene un conjunto de brazos mecánicos provistos con sensores, para obtener señales del campo magnético registrado en la superficie de los meteoritos. Estas señales son interpretadas en tiempo real como una construcción sonora que toma como referencia ciertos sonidos del lugar donde el meteorito impactó: voces de sintetizador que refieren a los sonidos percutivos de rituales rarámuris, se unen a sutiles expresiones inspiradas en el paisaje sonoro de la Sierra de Adargas en Jimenez, Chihuahua.

La segunda lectura de SIDERAL, se realizó con un meteorito de 283.5 kg caído en el Meteor Crater en Arizona y que está actualmente alojado en el Observatorio Archenhold en la Ciudad de Berlín, Alemania.


This is a series of sound articulations that come from reading and interpretation of local magnetic field at the meteorites surface fallen in several parts of Earth.

The series begins with a meteorite called La Conception – Adargas, a metallic meteorite of 3.3 tons was transported from the mountain range of the State of Chihuahua in Mexico on April 29, 1780 to the nearby Hacienda La Conception. The Institute of Astronomy at National University of Mexico –UNAM- has sheltered it since 1976. This meteorite will be placed under the dome of the Chapel of the Lord of Santa Teresa in the museum Ex Teresa Arte Actual in Mexico City.

We built the first prototype of an instrument that performs readings of the local magnetic field intensities of the surface of this meteorite.
Inspired by the sound from the place where each meteorite impacted, we create synthesized sounds that are displayed by the collected data from these readings. In the case of La Conception – Adargas, these sound sources are based on some percussion rituals of rarámuri people living in the region, and subtle events of the soundscape of the mountain range in Chihuahua.

During the second realization, was examined a 283.5 kilograms iron meteorite taken from a meteor crater in Arizona, and today housed in the Archenhold Observatory in Berlin –Treptow.


Museo Ex Teresa Arte Actual – August 26th – October 23th, 2016.
Kunstraum Kreuzberg, Berlin – November 25th, 2016 – January, 2017

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Photography by Gilberto Esparza

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Photography by Gudinni Cortina


Meteorite at Archenhold Observatory, Berlin.

Créditos:

Marcela Armas y Gilberto Esparza

En colaboración con Daniel Llermaly en la composición sonora / Instituto de Astronomía y Dirección General de Divulgación de la Ciencia de la UNAM.

Daniel Flores – Instituto de Astronomía UNAM
Jaime Urrutia – Instituto de Geofísica UNAM

En el marco de la exhibición Entre Límites, Zwischen Grenzen. Espacios Sonoros en México y Alemania / Klangraüme in Mexiko und Deutshland.

Carsten Seiffarth, curador.

Diego Liedo Lavaniegos – productor
Taiyo Miyake, Bruno Monsiváis, Carlos Chinchillas Terrazas – producción
Salvador Chávez – programación

Agradecemos a: Turi Banhí, Rodrigo Escobedo Baena, Tito Rivas, Emilio Converso, Pedro Ortiz Antoráz, Iván Edeza, Julián Monroy, Santiago Itzcóatl

Ex Teresa Arte Actual – INBA / Goethe-Institut Mexiko / Instituto de Astronomía – UNAM / Kunstraum Kreuzberg, Berlin

GIROTRONIC

2008

GILMAR
Marcela Armas + Gilberto Esparza

Girotronic is a sound live act performed with four turntables modified with analog electronics: switches, light sensors, audio oscillators, voltage variations, radios, contact microphones. The play is based on the design and construction of electronic records such as copper and acrylic unique pieces that are performed under a principle of free improvisation within a temporal structure of 33 rpm. Each disk has specific qualities that define its nature sound, from drawings, maps, texts that function as voltage transmission lines.
This is a sound experience that corresponds to the inmediate physical action: the electric power manipulated by light, vibration and disruption.

Girotronic es un acto sonoro en vivo realizado con cuatro tornamesas modificadas con electrónica análoga: interruptores, sensores de luz, osciladores de audio, variaciones de voltaje, radios intervenidos, micrófonos de contacto. La obra se basa en el diseño y la construcción de discos electrónicos de cobre y acrílico como piezas únicas que son interpretadas bajo un principio de improvisación libre dentro de una estructura temporal de 33 rpm. Cada disco tiene cualidades específicas que definen su naturaleza sonora, a partir de dibujos, mapas, textos que funcionan como líneas de transmisión de voltaje.
Se trata de una experiencia sonora que corresponde a la acción física inmediata: la corriente eléctrica manipulada a través de luz, vibraciones e interrupciones.

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BREATH

Gilmar, 2010

EXPULSION

Triodo, 2009
Site specific intervention
Recovered wood of the renovation of Museo de Arte Contemporáneo de Oaxaca MACO

Since the beginning of this project, we were interested on the recovery of some of the waste materials that came from the remodeling process of the Contemporary Art Museum of Oaxaca. The purpose to locate a site specific intervention within this architectural restoration process, was a very suggestive idea, in terms of a concrete and symbolic insertion of the work into the reconstructive dynamics.

We chose the scrap wood beams, considering its meaning such as functioning structural support and also its sculptural and architectural possibilities. The aim of giving a new constructive use to these elements became the starting point for addressing the mexican migration phenomenon in the specific case of Oaxaca State in Mexico.

The work proposes to use part of the replaced beams from the building, to construct a three dimensional graphic of a statistical analysis about migration levels that population*, -mostly indigenous of Oaxaca- has experienced since 1950 until 2009. We propose the physical construction of the graphic, as a symbolic materialization of the statistics domination in society. The idea is to focus on the meaning and role that acquires information in front of reality of social phenomenon and the specific problem we noted.

The material display of data in site, is revealed as a morphological feature of the word EXPULSION that can be read and experienced on real space. The big word and statistics is located to the North direction in the courtyard of the Museum.

TRiodO
November, 2009

*Statistics source:
Dirección General de Población de Oaxaca, DIGEPO.
Instituto Nacional de Estadística,Geografía e Información, INEGI.
Consejo Nacional de Población, CONAPO.

TRIODO

TRiodO is a collective formed by Marcela Armas, Gilberto Esparza and Iván Puig.
During more than 10 years have been collaborating in their individual processes. They met during their professional studies at the University of Guanajuato in 1997. From then, they work very close
Since then, they often have shared processes, travel and gaming, experimentation and the formation of their personal languages
They share concerns about political issues, use of technology and its social implications, the use of recovered materials as a starting point and critical position.
Members from TRiodO, have exhibited their work individually and as a group in Mexico and abroad.

MEDITATO SONUS

Meditatĭo sonus is a curatorial collaborative project with Arcangelo Constantini (arc-data.net). This is a series of live sound actions under the premise of producing sound as a guide for group meditation sessions. The invited artists use their media work and research that bring acoustic instruments, analog or digital electronic devices. The project has developed a first cycle to date happened from July to December 2012 at the Audiorama in Chapultepec Park, Mexico City:

Meditation practice is a state of concentrated attention on an object, an event, an environment, a thought, in consciousness itself or the act of meditation, an ancient practice of awakening conscious of being.
Meditatĭo sonus is about the guided attention by a sound live act, over the course of a process that seeks to induce the here and now. The subtle energies flow in the matter. The energy emitted oscillations sublime in the natural environment as a whole.
The guided contemplative act employ electronic circuits and diaphragms flows processed in real time. The natural environment of the Audiorama of Chapultepec Park is favorable for contemplation of being, nature and technological processes.

Arcángel Constantini + Marcela Armas

http://meditatiosonus.net

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C02 S01 – Arthur Henry Fork


Meditatio Sonus (Mexico City, Cycle I, 2012)

MILPA POLIMERA

Arcángelo Constantini + Marcela Armas

The corn seed represents a double origin: for the plant and for the Mexican social imaginary. It is food and raw material for other substances, ranging from biofuels intended to replace fossil fuels to the plastic polymer used in this piece.

 

 

 

Therefore, the seed’s artificial nature –corn plastic corn- poses a paradox of no easy solution for the conception of the artificial as a copy of the natural. In the seed, both the natural and the artificial are represented, the original and the derivative. The seed evidences the tensions inherent to these distinctions. The seed sown by our piece is not “really” a corn seed, although it has its (material) origin in it.

Corn becomes the mythical origin of several peoples precisely when it ceases to be completely natural, to become also a cultural entity, a device defining eminently human activities such as agriculture. Somewhere between the natural and the artificial, farming maize domesticates both the farmer and the cornfield. But the agriculture represented in Milpa Polímera is also artificial in a second sense: it is mechanized agriculture. The piece itself is a biotechnological mechanism.

At its center, a tractor robot swivels in a closed cycle, sowing the artificial seed. The sterile seeds are printed and fall to the ground on the radial space, turning the soil into a sown field, into a cultural and economic artifact, but a sterile one from which no plant will ever grow, such as its industrial counterpart, a system trapped in a cycle aiming to establish itself as the only possibility. Thus it presents the complex relationship between the natural and the artificial, the origin and the originated, while the soil becomes a representation of what does not remain, furrowed by the biotechnological mechanism and its own sounds.

The seeds printed are made from polylactic acid (PLA), a thermoplastic biopolymer made from corn. While proponents argue that it is biodegradable, actually it is compostable, being degraded under strict methods with precise humidity and temperature control. The truth is there is no evidence that it would disintegrate faster or more efficiently than PET or other plastics in a traditional landfill. It is worth noting that much of the corn used to produce PLA is genetically modified.

The 3D printer included in the tractor uses open-source technology promoted by the collaborative work of a community that seeks to optimize its functions and sharing codes and knowledge. PLA, in contrast, is a patent material with plenty of industrial applications. By coupling both kinds of technology, the tractor blends the contradiction between open and closed, free and limited, and presents it in a transformative act that mimics the production of life through dead and inert materials.

Traditionally in art, nature used to play the role of original model, from which the art piece –epitome of the artificial entity– was the copy. Giorgio Vasari expressed this view of art as follows: “Art owes its origin to Nature herself… this beautiful creation, the world, gave us the model, while the divine intelligence was the original master, which created us as beings superior to other animals, more like God himself –if I dare say”. In Milpa polímera, by contrast, the nature that serves as a model for the work is not the natura naturans, but the domesticated nature and its problematic relationship with technology. The corn of Milpa polímera, such as the corn from all the country’s fields, is not the “original” corn: it is not corn in a state of “pure nature”. On the contrary, it is the current corn from technologized fields: less a domesticated corn than a sterilized one due to biotechnology of genetic modification.

Text: BIOS Ex MachinA

ARTE + CIENCIA
www.artemasciencia.com

ARTE + CIENCIA is a Research and Creating Group under the direction of María Antonia González Valerio. This group brings together the work and collaboration of artists, humanists, scientific / os, exploring inter-and transdisciplinary methods.

The project was originally presented as part of the exhibition SIN ORIGEN based in the University Museum of Contemporary Art and the MUCA Roma in 2012, in Mexico City. SIN ORIGEN was an exhibition curated by María Antonia González Valerio as part of ARTE + CIENCIA program

Recently it was shown in the collective Show “BPLTC III: CONTRÔLE ALIMENTAIRE”, at Eastern Bloc, Montreal
http://easternbloc.ca/expositions