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)

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

SILENT DINNER SOUNDSCAPE (Mooste/Tallinn, Estonia 2015)

August 2, 2016 | Eduardo Abrantes

SILENT DINNER SOUNDSCAPE (Mooste/Tallinn, Estonia 2015)

Soundscape composed from field recordings taken between 16-26 March 2015 around Mooste, Estonia, during a residency stay at MoKS, for a collaborative performative silent dinner taking place at Kanuti Gildi SAAL (Tallinn, Estonia) organized by artist/researcher Luisa Greenfield (US/DE) and philosopher/artistic researcher Sebastian Dieterich (DE/CH), with the participation of artist/researcher Christina Burkolter (DK/CH). This performance operated as a ritualistic sensorial immersion, in the context of a nomadic community of artistic researchers and practitioners, bringing an embodied experience of the outer space (sounds collected from walks through the forest around Mooste) into an intimate location where the basic needs of the performing, living body are met – both the needs manifest as hunger and exhaustion, the need for privacy in an intense exchange environment, and the need for the partial release of the self as ego after prolonged exposure to a shared space of intense identification between work and artist. The meal was prepared, using local resources and a DIY ethics, by the Berlin based nomadic artist ensemble NoWhere Kitchen (Pepe Dayaw and Ayumi Saito).

photo by Sebastian Dieterich, Kanuti Gildi SAAL, Tallinn 2015

photo by Eduardo Abrantes, Mooste 2015

photo by unknown, Kanuti Gildi SAAL, Tallinn 2015

photo by Sebastian Dieterich, Mooste 2015