Los circuitos electrónicos, tratados con un compuesto químico hecho de peróxido y vinagre, integran minerales de cobre de las minas en Chile. El término “tierra flotante” se refiere a los circuitos cuando las conexiones están ausentes. A medida que el agua de mar cae en los circuitos, se realizan estas conexiones, activando sonidos entre interferencias y oscilaciones. De esta forma, los embudos suspendidos dejan caer la química en los circuitos abiertos gota a gota, transformando los sonidos a medida que se produce la oxidación, generando cristales orgánicos y creando un trabajo efímero que cambia continuamente a lo largo del tiempo.
La instalación se completa con fotografías analógicas tomadas en la región de Rouyn-Noranda (Quebec, Canadá), en la mina abandonada Mouska. Las imágenes se revelaron utilizando procesos químicos a base de ácido cafeico, en los que se integraron muestras de agua y suelo de varios sitios mineros de la región.
http://festival.tsonami.cl/events/inauguracion-tierra-flotante/?fbclid=IwAR3nhILlySgbV_WbMaHnWTV9qT1Me-m1iDGj2o5BmWBQJGt07aYTlx1_EsI
- Texte pour le catalogue de Tsonami 2018, auteur : Stéphanie Castonguay
Title: Floating Ground / Tierra
Flotante
Waves from oscillators appear, disappear and become contaminated.
Electronic circuits, treated with a chemical compound made of peroxide and
vinegar, integrate copper minerals from mines in Chile. The term "floating
ground" refers to circuits when connections are absent. As seawater drops on the
circuits, these connections are made, activating sounds between interference
and oscillations. From the suspended funnels the
chemistry drips on the open circuits, drop by drop, altering the sounds as the chemical
transformation takes place, generating organic crystals, and creating an
ephemeral work that is metamorphosed continuously over time.
The
photographs were taken in the region of Rouyn-Noranda (Quebec, Canada), in the
abandoned Mouska mine. The images were developed using caffeic acid-based
chemical processes, in which water and soil samples from various mining sites
in the region were integrated.
To me, this installation
was about transformation through process. Working with electronics, I came to
deal with it as a form of constant negotiation, which establishes itself either
through performance (between the body and its unpredictable effect on the
circuit), or with the installation itself, striving to survive, or to be
“functional” as it is expected to be, even in the form of art. In both ways,
there is a vulnerability that takes place, an acceptance of having to see it
disappear and destroy itself in the process. By this, I came to realize that
the work was referencing to itself through its self-destruction. Coming from a
different cultural heritage, the challenge I faced was to create an
installation that reflected a specific context and that could be meaningful, by
establishing a link between our everyday consummation of technologies and the
impact of it by looking at what it really means to be part of this world that rely
more and more on it (exploitation of our planet’s resources and of human beings…)
Inevitably, it also refers to political and environmental issues, that I wanted
to bring into light without imposing any personal views. As I sense it, there
an importance to view this work as a proposition to open and build up a dialog.
I perceived it as a possibility to exchange and talk to people about those
issues, in close relation to a day to day life. This is the most enriching part
of the experience at the festival – the part that I brought back with me.
Title: Elettronica Povera
Elettronica Povera is about listening to the electromagnetic field of our obsolete
electronic objects, such as small fans and other electronic prepared. It is
through the phenomenon of induction that it is possible to reveal the sound
matter of electric currents, which are otherwise inaudible. These currents
conceal complex dynamics of movements and impulses, as if you could hear the current
of excited electrons rushing through the circuits! As the performance takes
place, it is about the present moment, where these sounds emerge in there
idiosyncratic way at this specific time and place.
