Much has been written, thought and discussed about translation. From literacy and interpretation to the best and worst versions achieved. What is a good translation? In this case, words are completely excluded: what is conveyed here, what is changed, starts from the sound and goes into the image. There is a change in meaning and perception.
“Let’s do it Imaginative effort“Thus, immediately, what could have been tinged with some doubt at first and which contemporary art can sometimes arouse suddenly becomes a challenge,” says the curator. Evoking the sound that is the origin of all work“, continues Benedetta Cassini, standing in one of the rooms of Ennio Morricone’s music garden – with that name, and in the heart of Rome, it is worth recalling something else first, perhaps a part of Cinema Paradiso-. This is how the latest Pinalsur exhibitions opened in the Eternal City last Friday under the conceptual umbrella of “Invitations”: Sound in the back of the ear. So deep in the ear, it is worth noting that, with the exception of one of the six installations that make up the exhibition, she was not heard that afternoon barely Nothing more than the murmur of guests.
An architecturally raised musical scale with mechanical piano rolls arranged on the wall (Venice, by Jacopo Mazzonelli); A still life constructed with foam rubber plugs, of the type used for noise isolation, its branches extending one meter from the ground (GinestraWritten by Andreas Zampella); What appears to be abstract images on a series of flags is a representation of artist Friedrich Andreoni’s voice as he makes a firm statement: I was so wrong; Finally, in a frame 2001: Spaceflight Which is printed on a TV, the image has also been erased and only the legend can be read on the black screen The sound of air rushing in. yet All works are silent about sound.
But not only perception, the dynamic changes completely on the other side of the thick, dark curtain. With passage to the second room waterfall by Marc Vilanova which was seen at the Isaac Fernandez Blanco Museum in Buenos Aires, two years ago. It vibrates again over a rain of optical fiber ultrasound records taken directly from the natural environment of different waterfalls around the world (Iguazu, Niagara, Montmorency). Ignite the fun, call for action: Now everyone wants to play.
Next to it is the clearest representation of a system translation Which we were referring to at the beginning. Say almost the same thingVideo installation by Argentinian Lihuel Gonzalez, It puts the orchestra director in conversation with a dancerin a conversation like the one we’ve seen so many times, between pit and stage, except for one detail: the music is missing here.
“I like to listen to orchestras,” says the artist. “At those concerts, I was completely hypnotized by the conductors and their movements seemed to me like magic. They are like a programmed dance, making everything happen.”
For just over nine minutes, the man with the stick displays the typical gestures (at first he rolls up his sleeves, and confirms with a raised eyebrow that everyone is ready); The woman decodes with a slight extension of her torso so that it is time to start improvising. The tool is its own body and carries out the instructions virtually without leaving space that tiles might occupy. A connection seems to have been established between them, but it’s hard to avoid the message: What passes from Carlos to Veronica? What is that classical symphony, or the memory of that symphony, that he carries in his head? If it was Novena Beethoven, shouldn’t he be messing with his hair like an energetic Dudamel? Finally, the stealth character is emphasized. She puts her index finger in her mouth as she squats. It seems that he wants to remind us that the voice is ultimately a spirit in this supplication.
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