The Tabacalera Studies space hosts the exhibition Aurality and Environment with art works by Brandon LaBelle and Salomé Voegelin & David Mollin, curated by Alex Arteaga.
What is this thing called “environment”? How does it appear precisely? What perceptual and cognitive processes, forms of interaction within its components, what social structures or institutions articulate and propitiate its constitution? FASE 6 addresses these complex issues from an acousmatic perspective, through an artistic research framework that begun in December 2015 and culminates in the exhibition Aurality and Environment and publication Aurality and Environment / Auralidad y Entorno.
Salomé Voegelin & David Mollin exhibit Vocal Site Report, a work that engages the site at the intersections and interactions with its external environment as it is delineated by the external walls that circumnavigate it, and The way I walked the cars went backwards which engages the internal volume of the site through interviews and conversations with the communication’s officers who manage the visitor experience, answer questions about work and guide them through the exhibitions.
Brandon LaBelle exhibits The Free Scene (acoustics of cultural survival). The work considers questions of cultural survival in today’s climate of crisis and new social solidarity. Working with a group of participating performers, a series of movement strategies are enacted within the empty floors of the Tabacalera building.
Read more about the exhibition on the Fasefest website and the Promocion del arte website.
About FASE 6
FASE 6 (Framework for an Aesthetic Study of the Environment) is an artistic research framework that begun in December 2015 and comprised of exhibitions, research seminars and research residencies with contributions by Raquel Rivera, Alex Arteaga, Ana Garcia Varas, Lluís Nacenta, Maria Andueza, Salome Voegelin, Brandon LaBelle and students from MA Sound Studies at the Berlin University of the Arts (UdK). This edition of FASE is conceived as an artistic research endeavour for aesthetic practices – essentially sound art hearing and sound art production – and other reflective purposes in creative dialogues and seminars. The research aim is the perceptual constitution – especially aural – of the environment. We do not understand environment in this context as a given entity, existing in itself and reducible to the sum of the objects around us, but rather as a whole constituted emerging through our interaction with these objects.