SISTER BROTHER AGATHA DARKNESS (Stockholm, Sweden, 2016)

photo by Eduardo Abrantes - Kärrtorp, Stockholm, 2015

August 2, 2016August 2, 2016 | Eduardo Abrantes

Sister Brother Agatha Darkness – 4# in “Some Days Series” – a series of short situated sound experiments. Stockholm, March 2016.

Faux-goth sensibilities fractured by 4am introspection. Sister Brother Agatha Darkness moves between dense social atmospheres and the off-beat suspenseful instinct for interruption. As a sound body it lurks, ritually gasping in tangible shyness and awkward self-awareness, while basking in cinematic associations. It is about subtle exhibitionism and wearing proudly one’s garland of imperfections.

(photo credit: Eduardo Abrantes)

LAVA AND DISHWATER (Stockholm, Sweden, 2016)

August 2, 2016August 2, 2016 | Eduardo Abrantes

Lava And Dishwater – 3# in “Some Days Series” – a series of short situated sound experiments. Stockholm, March 2016.

A meditation on the shattering of domesticity through the need to create. Lava and Dishwater experiments with spoken/sung word as sheer acoustic physicality. Two vocal samples – Sylvia Plath reading “Fever 103” and Etta James warming up to “Something’s Got a Hold on Me” – combine with a heavy, moist rainy weather drone. Entwined, they bring up the dual potential of voice for both disembodiment and self-revelation.

(photo credit: Eduardo Abrantes)

OUTSIDE IN – INSPLAB III (Næstved, Denmark, 2016)

August 2, 2016August 2, 2016 | Eduardo Abrantes

OUTSIDE IN – INSPLAB III (Næstved, Denmark, 2016)

Participation in Cantabile2’s Inspirationslaboratorium III – a collective exploration of creativity in the hybrid context of theatre, performance and live art. Outside In is a soundscape composed by the play between voice and the acoustic site-specificity of the landscape. It features vocal improvisation by Christine Borch (DK), poetic fragments gathered from Mary Elizabeth Frye’s 1932 piece “Do Not Stand at My Grave and Weep”, and the binaural wanderings through the Grønnegade Teater surrounding area, with its life rhythms of farm animals and rich textures of the land. It was performed together with live sound improvisation, in both group explorations and intimate sensorial refocusing for a small audience.

photo by Eduardo Abrantes, Grønnegade Teater, Næstved, April 2016

DEADER THAN DADA (Copenhagen, Denmark, 2016)

August 2, 2016August 2, 2016 | Eduardo Abrantes

Deader Than Dada – 2# in “Some Days Series” – a series of short situated sound experiments. Copenhagen, February 2016.

A sample of meaning stretched between contrasting contexts. Deader Than Dada is a dialogue between two sound memories, and the rhythmic field of expectation connecting them both. Treasuring mood and physicality, it carries the double meaning of the vital need to leave something behind. It is not a song, but it is a pact made between a listener, a singer and a window opener.

(drawing and photo credit: Eduardo Abrantes)

SALT SAND SNOW STEPPER (Copenhagen, Denmark, 2016)

August 2, 2016August 2, 2016 | Eduardo Abrantes

Salt Sand Snow Stepper – 1# in “Some Days Series” – a series of short situated sound experiments. Copenhagen, February 2016.

Weather and own body mass as texture generators. Salt Sand Snow Stepper is an expansive micro-landscape of layered acoustic perceptions. Its nature is mineral, both that which lives within and without the body. Salt like sand, stepping like onto snow – it gathers discrete memories of pleasure in progress against wind, tiredness, boredom and the nurturing anxiety of the creative act.

(photo credit: Eduardo Abrantes)

THE HERE AND NOW (Malmö, Sweden, 2015)

August 2, 2016 | Eduardo Abrantes

THE HERE AND NOW (Malmö, Sweden, 2015)

Sound performance and series of artistic research workshops developed during an immersive one week residency at the Boarding School / Sisters Academy project by the Sisters Hope (DK/SE) artist collective. During a strictly ritualized close cohabitation period, living at the Inkonst (SE) art space, an old chocolate factory in the center of Malmö, The Here and Now is an experiment in the transformation of everyday rhythms and practices, while heightening performative awareness of oneself through the emergence of a “poetic self”. It deals, in sonic and performative terms, with intersubjective borders, territories and their permeability through conflict and vulnerability.

photo by Eduardo Abrantes, Sisters Academy/Inkonst, Malmö 2015

SOUNDSITE/LISTENINGSCAPE CORRESPONDENCE (Druskininkai, Lithuania – Stockholm, Sweden – Basel, Switzerland, 2015)

August 2, 2016 | Eduardo Abrantes

SOUNDSITE/LISTENINGSCAPE CORRESPONDENCE (Druskininkai, Lithuania – Stockholm, Sweden – Basel, Switzerland, 2015)

A collaboration with artist, researcher and performer Christina Burkolter (CH, DK) which was presented as a site-specific sound performance in Druskininkai, Lithuania, during the NSU Summer Session in July 2015. Soundsite/Listeningscape Correspondence is an ongoing project that started as an exchange of sonic sketches between myself, living in Stockholm, Sweden, and Christina, based in Basel, Switzerland, and it evolved into an embodied dialogue of site-specific exploration of the notions of togetherness and permeability through the use of sound. Soundsite/Listeningscape Correspondence was performed before a live audience in a hybrid format, including both pre-recorded sound pieces and live voice manipulation. It was framed as a sonic exploration of the mutual engagement essential to a nomadic artistic research community, and also as an embodied inquiry into performative practices of co-authorship and collaborative research.

photo by Eduardo Abrantes, Druskininkai 2015

photo by Corinna Casi, Druskininkai 2015

photo by Eduardo Abrantes, Druskininkai 2015

SOME BODY IN THE LANDSCAPE (AND THERE WERE OTHER BODIES) (Mooste/Tallinn, Estonia – Stockholm, Sweden, 2015)

August 2, 2016 | Eduardo Abrantes

SOME BODY IN THE LANDSCAPE (AND THERE WERE OTHER BODIES) (Mooste/Tallinn, Estonia – Stockholm, Sweden, 2015)

Sound piece composed of voice and manipulated field recordings captured in Mooste and Tallinn, Estonia, during March 2015, and edited in Stockholm and Lisbon during May 2015. Some Body in the Landscape builds upon the impressions of the wandering mind and ear, and deals with pathos and improvisation both in dialogue and in the context of performative intervention in the immersive presence in the surrounding landscape. Commissioned by the interdisciplinary online platform ESC:ALA, (escalanarede.com), the full curated piece is accessible here

photo by Eduardo Abrantes, Mooste 2015

SING-A-LONGING (Mooste/Tartu/Tallinn, Estonia 2015)

August 2, 2016August 2, 2016 | Eduardo Abrantes

SING-A-LONGING (Mooste/Tartu/Tallinn, Estonia 2015)

Performative sound piece composed from a local choir recording at Mooste and vocal fragments collected from passersby in the streets of Tartu, Estonia, between 16-26 March 2015. Performed at the Crossing Contexts NSU Winter Session at Kanuti Gildi SAAL, Tallinn, Estonia. Sing-a-longing was inspired by a radical notion of “site specific” engagement, as the intimate sound field available in direct memory recall, and by the role of choral singing in Estonia’s recent political history, namely the series of events known as the “Singing Revolution”, taking place between 1987-1991, the period leading to the independence of the Baltic states.

photo by Larissa Lilith, Kanuti Gildi SAAL, Tallinn 2015