dispatch 1
into the infinite insomnias of several nights
from Valéria Bonafé to Lílian Campesato, sent on 8th May 2020
into the infinite insomnias of several nights
from Valéria Bonafé to Lílian Campesato, sent on 8th May 2020
author’s note
An audio track produced in two stages. First, a montage between fragments of a speech by Brazilian psychoanalyst Maria Homem about rationalization, desire, enjoyment and anguish, and excerpts from the song Valerie, recorded by Amy Winehouse on the album Back to Black. Then, over this audio track, some recordings of my own voice amplifying the sonorous-semantic thickness of some points, adding another (or a few) layer(s) of listening. This process implied a repetitive listening and imitation exercise that captured me for long nights.
An audio track produced in two stages. First, a montage between fragments of a speech by Brazilian psychoanalyst Maria Homem about rationalization, desire, enjoyment and anguish, and excerpts from the song Valerie, recorded by Amy Winehouse on the album Back to Black. Then, over this audio track, some recordings of my own voice amplifying the sonorous-semantic thickness of some points, adding another (or a few) layer(s) of listening. This process implied a repetitive listening and imitation exercise that captured me for long nights.
into the infinite insomnias of several nights
dispatch 2
the same scene over and over
from Lílian Campesato to Valéria Bonafé, sent on 20th May 2020
in response to into the infinite insomnias of several nights, received from Valéria Bonafé on 8th May 2020
the same scene over and over
from Lílian Campesato to Valéria Bonafé, sent on 20th May 2020
in response to into the infinite insomnias of several nights, received from Valéria Bonafé on 8th May 2020
author’s note
A video combining: (1) overlapping fragments of two performances of Pina Bausch’s choreography for Igor Stravinsky’s Rite of Spring; and (2) replacing the original Stravinsky’s music, an audio track based on vocal imitation and unpretentious dubbing of the original music using breath and guttural sounds. The ‘same scene’ always repeated is the fundamental motto of the work. This creative process was triggered by the reiteration and repetition present in two instances: both in the words and sounds reinforced in into the infinite insomnias of several nights by Valéria Bonafé, and in the memory of my own listening experiences of Stravinsky’s and Pina Bausch’s works.
A video combining: (1) overlapping fragments of two performances of Pina Bausch’s choreography for Igor Stravinsky’s Rite of Spring; and (2) replacing the original Stravinsky’s music, an audio track based on vocal imitation and unpretentious dubbing of the original music using breath and guttural sounds. The ‘same scene’ always repeated is the fundamental motto of the work. This creative process was triggered by the reiteration and repetition present in two instances: both in the words and sounds reinforced in into the infinite insomnias of several nights by Valéria Bonafé, and in the memory of my own listening experiences of Stravinsky’s and Pina Bausch’s works.
the same scene over and over