Juan Antonio Nieto y Javier Piñango 17 de noviembre de 2018. 20:00 h Ciclo Escuchar [Sonidos visuales] Museo de Arte Moderno de Buenos Aires San Juan, 350. CABA Entrada 30$ +info Evento facebook
https://phantomlimblabel.bandcamp.com/album/doce-percepciones-de-un-silencio
The record label Phantom Limb release Doce percepciones de un silencio by the filmmaker Laura León, a collection of twelve film scores with the collaboration of musician all around the world. I participate with the sound track of Percepción N3
El martes 24 de Mayo de 2016, en ese mismo lugar que es foco sonoro de creación, agitación y disfrute, Cruce (Madrid), el triángulo formado por Jorge Haro (Argentina/España), Juan Antonio Nieto y Javier Piñango, se interseccionó y se complementó ofreciendo tres conciertos cortos en solitario y una inmersión profunda final a trío, que están ya prendidos en la memoria de los que asistieron a aquella noche de primavera de 2016. Todo ello bajo un cóctel que entrelazaba ideas y conceptos como:
DIGITAL, ANALÓGICO, SONORO, VISUAL…
Ahora, dos años y pico después, aprovechando la estancia en Madrid de Jorge Haro, estos tres veteranos ruidadores de la experimentación electrónica, cómplices de mil y una aventuras exploradoras, vuelven a reunirse, con idéntico formato y en el mismo lugar, para guiñarle un ojo al tiempo y reconectar lo sucedido en aquella inolvidable noche de 2016 con el presente de 2018…
Those old, wise Greeks
knew what they were talking about when they said that our senses,
always prone to deceiving us, can only help us form opinions, not
provide absolute certainties. And we couldn't ask for a clearer
example of this phenomenon than "Afterglow".
That's not to say, of
course, that Juan Antonio Nieto and Javier Piñango have set out to
pull the wool over our eyes (at least, I don't think so). It's just
that their mastery in generating and twisting sound means that what
seems as natural as a river can be made to come from such artificial
sources as analogue synthesis or digital processing. Whereas in
earlier work our sensory confusion resulted from the blending of
these two processes, this time around we're faced with their
superimposition. We're left wondering which sonic stratum each
occupies, thanks to a marvellous auditory sleight-of-hand.
"Afterglow"
consists of four pieces of between 8 and 11 minutes' duration,
created expressly for pressing on vinyl. The format choice was no
accident, nor was it a nod to the current retro trend. The inherent
characteristics of the LP are another important ingredient in the
overall illusion we are faced with, where we're grabbed but not
throttled, our senses tuned to pick up on any shifts in anticipation
of the next movement. Without ignoring the ambient nature of the work
of both these artists, on this occasion atmospheric layers take
second place to elements such as sonic details, glitches, frequency
sweeps. And, if you will forgive me for saying so, is that a hint of
an enjoyably out-of-tune melody I hear in 'Sleep, not oblivion'?
Whilst we're in the midst
of letting ourselves be taken in, up steps Almudena Villar, forcing
us to sharpen our visual awareness and not mistake the sleeve
imagery for sandstone cliff faces or prehistoric cave interiors. Even
here, nothing is what it seems.
"Afterglow" is
out on Plustimbre, up to now a netlabel, yet with this release taking
the plunge into physical media for the first time. And who better to
feature in this move than two of its longest- standing signings? David Área, translation by Ben Roberts
Ya lo decían aquellos
viejos sabios griegos: nuestros sentidos, tan amigos de engañarnos a
su voluntad, sólo pueden ser fuente de opinión, nunca de certeza
alguna. Y cuanta razón tenían. Y cómo para afirmar sin titubear
semejantes cosas lo mejor es tirar de ejemplos, en "Afterglow"
tenemos uno.
No, no es que Juan
Antonio Nieto y Javier Piñango nos estén engañando a conciencia (o
quizá sí...), sólo que la maestría en aquello de generar y
depurar el sonido da como fruto que aquello que de primeras se nos
antoja natural como un río, pueda llegar de fuentes tan artificiales
como la síntesis analógica o el procesado digital. Si en su
anterior trabajo la confusión llegaba de mano de una mezcla
extenuante de ambas técnicas, en el presente disco nos enfrentamos a
la superposición de ambos métodos sin saber en qué plano está uno
y donde se encuentra el otro. Prestidigitación sensorial auditiva.
"Afterglow" se
compone de cuatro cortes que oscilan entre los 8 y los 11 minutos
expresamente creados para ser materializados en vinilo. El soporte en
este caso no es casual ni cuestión de modas. La naturaleza propia
del viejo LP aporta un elemento más a este trampantojo al que nos
enfrentamos dónde la línea general atrapa sin asfixiar, nos
mantiene atentos al cambio esperando siempre al próximo movimiento.
Sin dejar a un lado el carácter ambiental que caracteriza el trabajo
de ambos autores, en esta ocasión las capas atmosféricas pasan a un
segundo plano dando protagonismo al detalle, al glitch y al barrido
de frecuencias. Incluso (y ruego me perdonen por esto que voy a
decir) algo similar a una desafinada melodía se puede intuir y
disfrutar en el tema "Sleep, not oblivion".
Puestos a dejarnos
engañar, damos licencia a Almudena Villar para que nos obligue a
trabajar la agudeza visual y tratar de no confundir la imagen de
portada con acantilados de arenisca o cuevas prehistóricas. También
aquí nada es lo que parece.
"Afterglow"
está editado por el, hasta el momento netlabel, Plustimbre que ha
hecho de este trabajo su primera referencia física apostando una vez
más por dos de los miembros habituales de su catálogo. David Área
Cottura 8 minuti by Various Artists. Submarine Broadcasting Company. 2018. curated by LEZET and Razrook with Ars Sonor, Razrook, David Fenech, David Nadeau, Cult Party, Awkward Geisha (Ade Rowe), Gekkering, Amok III, Juan Antonio Nieto aka Pangea, Der Domestizierte Mensch, Zumaia Zu, Doug Sharp, The Fruiting Body, Dream With Echo, Dr. Noise M, Otis's Toaster Ghosts, Yann Pillas, I, Eternal (Eric Jovet), {AN} EeL, Hectic Head, Mean Flow, Lezet (Igor Jovanovic).
III Compilation from Gruppo Ungido (gruppoungido.net), netlabel and Anartist Society from the south of Spain, focused in spiritual experiences through music and arts. Intermedia Mysteriums, netlabel and Cd releases.
Jesús Alonso, David Area, Pelayo Arrizabalaga, Tais Bielsa, Sancho Campos, Carlos Dal Verme, Suero/godafoss, A.l. Guillén, Sergio Sánchez, JCR, Juan Antonio Nieto, Fredrik Nilsson Metek, Ernesto Ojeda, Axilleas Pó, Javier Piñango, Stahlfabrik
Mercury is an album in wich the sounds used (improvisations with percussion metal plates and storms field recordings) work into a different perspective on dark ambient, Nieto hasnpt used melodies or ornaments to make the listener more "friendly", It's the transformes sounds that sustain the album and need attentive ears to be enjoyed.
El 14 de enero de 2018 se ha publicado el catálogo de la Segunda Convocatoria de arte postal de la revista-fanzine Procedimentum, dirigida por Pedro Pablo Gallardo, en esta ocasión dedicada a la pieza de vídeo-arte W_Spaces of Otherness de Roland Quelven con música de Juan Antonio Nieto, han participado artistas plásticos, sonoros y vídeo-artistas. Las piezas sonoras y de vídeo se han incluido en una publicación titulada Procedimentum. Volúmen I. Trabajos disponibles en libre descarga. Además la revista incluye un amplio dossier con los trabajos de Juan Antonio Nieto y Roland Quelven.
On January 14, 2018, the catalog of the Second Call for Postal Art of the fanzine-magazine Procedimentum, directed by Pedro Pablo Gallardo, was published, this time dedicated to the piece of video-art W_Spaces of Otherness by Roland Quelven with music of Juan Antonio Nieto, plastic artists, sound artists and video-artists have participated. The sound and video pieces have been included in a publication called Procedimentum. Volume I. Works available in free download. In addition, the magazine includes a wide dossier with the works of Juan Antonio Nieto and Roland Quelven.
/ Espaces hétérotopiques / Contre Espaces / Ailleurs /
Other spaces between utopian and real landscapes.
"We do not live in a white and neutral space ; we do not live, we do not die and we do not love inside the rectangle of a piece of paper. We live, we die and we love in a space which is divided up, cut up, coloured in, which has its light and dark zones, its different levels, its steps, its hollows, its bumps, its hard areas and other friable, penetrable and porous areas. There are the transit zones, the streets, the trains and the subways; there are the open zones of the temporary stop, the cafés, the cinemas, the beaches and the hotels, and then there are the closed zones of rest and home. Yet, there are other places which are absolutely different among all these places which differ from one another : places which are opposed to all the others and which are meant to erase them in a way, to neutralize and purify them. These are a kind of counter-space. Children know these counter-spaces and these local utopias very well. Of course they are the bottom of the garden; of course, the attic; or better still the Indian tent set up in the middle of the attic; or again the parents’ double bed on a Thursday afternoon. It’s on that double bed that they discover the oceans because they can swim amidst the blankets; that bed is also the sky because they can jump on the springs; it is the forest for them to hide in; it is the night for them to become a ghost between the sheets; finally it is pleasure for they will be punished when their parents get back home. (...) So be it ! I dream of a science – I mean it, a science – which would study these different spaces, these other places, these mythical and real questionings of the space we live in. This science would not study utopias for this term has to be kept for that which does not really exist, but heterotopias, these other absolute spaces. The science in question would therefore logically be called and is already called “heterotopology”. "
Michel Foucault Translated from the French by Isabelle Maubian.
"Bachelard's monumental work and the descriptions of phenomenologists have taught us that we do not live in a homogeneous and empty space, but on the contrary in a space thoroughly imbued with quantities and perhaps thoroughly fantasmatic as well. The space of our primary perception, the space of our dreams and that of our passions hold within themselves qualities that seem intrinsic: there is a light, ethereal, transparent space, or again a dark, rough, encumbered space; a space from above, of summits, or on the contrary a space from below of mud; or again a space that can be flowing like sparkling water, or space that is fixed, congealed, like stone or crystal." Translated from the French by Jay Miskowiec.
Sound / Juan Antonio Nieto
Footage / Estanca 17" - Isabel Pérez del Pulgar & Roland Quelven
Han participado numerosos artistas de diversas nacionalidades:
Artistas Plásticos. Alemania: Walter Bachmann. Argentina: Raquel Gociol. Brasil: Almandrade - (Antonio Luiz M. Andrade) / Tamara Chagas. España: María José Bellido Jiménez / Manuel Camacho Polonio / Daniel de Culla / Ferran Destemple / Pablo Gallardo Bellido / Pedro Pablo Gallardo Montero / Sofía Isabel Gutiérrez Márquez / Francisco Jiménez Baños / Miguel Jiménez. El Taller de Zenon / Pablo Portero Sánchez-Crespo / Javier Seco / Almudena Villar Calvo (Latimeria Acúfenos). Grecia: Demetrios Coutarelli. Italia: Ruggero Maggi / Daniele Virgilio. Serbia: Predrag Kovacic.
Archivos Sonoros. España: Francisco Fernández aka microPlex / Javier G. Entonado a.k.a. Arín Dodó / Pepe Gálvez / Pedro Pablo Gallardo Montero / José Guillén / Juan Ramón Martínez. JARRTUL / Juan Antonio Miñana Osca / Antonio Murga / Javier Piñango / Josep Maria Soler Solá. STAHLFABRIK. Francia: Zumaia. Portugal: Rogério Paulo da Silva. Videoarte. España: Antonio Algaba ART / Pepo Galán / Saúl Wes. Francia: Zumaia. Portugal: Rogério Paulo da Silva.
