In this presentation, Francisco López will explore how his creative sound practice has developed over the past forty years through two areas of influence that differ from those traditionally associated with musical or sound-based learning: the independent international “home-music network” (beginning in the late 1970s) and the influence of sound environments from the “real world”, primarily from nature.
He will present these areas within a social and historical context that extends far beyond his own personal practice, highlighting and analysing the enormous influence that both have had, for several decades now, on the vast community of sound creators around the world.
Unlike the classical conventions of “field recordings” or “soundscapes”, his work with environmental recordings is not driven by representational aims, but rather by the intention to create new worlds of sonic experience based on a transformation of that source or inspiring “reality”. This approach is closely related to the recent philosophical field of “object-oriented ontology”; it considers sounds themselves as first-order, self-sufficient ontological entities and proposes a more intimate and profound connection with sonic “reality” than that derived from traditional representation.
One of the key elements in the development of these new sonic realities as shared public experiences is the reconfiguration of sound systems and spaces towards an immersive experience that challenges the conventional model of the stage. As a long-established convention for creating a contemplative experience, the stage has been uncritically adopted by most Western musical practices. In the case of electronic/experimental music, the absence of a stage —as well as its perceptual and symbolic implications— makes it possible to: (i) reunite the roles of sound generator and controller within a single person; (ii) shift attention from the performer to the sound itself; and (iii) transform the sonic experience from contemplative to immersive.
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His career in the field of sound creation and his work with environmental recordings spans over forty years. During this time, he has developed a sonic universe which is totally personal and iconoclastic, based on attentive listening to the world.
He has created hundreds of sound installations and projects with field recordings, as well as having held concerts/performances in more than seventy countries, including at major concert halls, museums, galleries, and international festivals like: the National Music Auditorium (Madrid), PS1 Contemporary Art Center (New York), Musée d'Art Moderne (Paris), International Film Festival (Rotterdam), Festival des Arts (Brussels), EMPAC (Troy, USA), Darwin Fringe (Darwin, Australia), Institute of Contemporary Art (London), Buenos Aires Museum of Modern Art, Museum of Contemporary Art of Barcelona, Center of Contemporary Art (Kita-Kyushu, Japan), Reina Sofía National Art Centre Museum (Madrid), the Spanish Pavilion at Expo Dubai (United Arab Emirates), etc.
His sound work includes live and studio collaborations —as well as projects he has curated and directed— with over a thousand artists from around the world. His works have been released by more than 450 record labels and publishers.
In addition to other international accolades, López has received an honorary mention at the renowned Ars Electronica Festival in Linz (Austria) on no less than five occasions and was the winner of the sound anthology category at the Qwartz Awards (France).
https://franciscolopez.bandcamp.com
http://www.franciscolopez.net
We propose to set aside differences in trends, styles and/or formats and meet at Tabakalera to enjoy works by artists, musicians, choreographers and poets.
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Her work has been exhibited at major institutions, including the Serralves Foundation (Porto), MAAT – Museum of Art, Architecture and Technology (Lisbon), Museu Coleção Berardo (Lisbon), MNAC – Museu Nacional de Arte Contemporânea do Chiado (Lisbon), Kunsthalle Lissabon (Lisbon), SESC Pompeia (São Paulo). Internationally, she has participated in the 32nd Bienal de São Paulo (2016), the 13th Istanbul Biennial (2013), the 4th Ural Industrial Biennial of Contemporary Art (Russia, 2017) and Manifesta 8 (Murcia - Cartagena, 2011). Other key exhibitions include La Réplica Infiel at CA2M (Madrid), Les Urbaines at MCBA (Lausanne), and Le lynx ne connaît pas de frontières at Fondation Ricard (Paris).
Filipe has been awarded several grants and residencies, including a Calouste Gulbenkian Foundation grant for a residency at Acme Studios (London, 2009), AIR Antwerpen (Belgium, 2014), the Robert Rauschenberg Foundation Residency (Florida, USA, 2015), Krinzinger Projekte (Vienna, 2017), and Peacock & The Worm (Aberdeen, Scotland, 2023). Her works are part of significant public and private collections, including the Serralves Foundation, MAAT/EDP Foundation, António Cachola Collection, Portuguese State Contemporary Art Collection (CACE), Centro de Arte Oliva, Foundation Leschot; PLMJ Foundation, among others.
Filipe received the FLAD Drawing Award in 2023 and in 2024 the best visual arts exhibition award for In My Own Language I am Independente at the Serralves Museum, by SPA, the Portuguese Society of Authors.
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\n\nHis work revolves around the tensions arising between ideology, representation and memory, exploring, through painting, installation and photographic archives, the physical traces of thwarted political projects and other forms of collective resistance. This interest has led him to work in conflict-ridden contexts such as Iraqi Kurdistan, Cuba, China and Mexico.
\n\nHis work is held in various public and private collections and has been exhibited at institutions such as Tabacalera (Madrid), the Museum of Navarre, the Spanish Academy in Rome, San Telmo Museum (San Sebastián), CIAJG (Guimarães) and galleries such as Carreras Múgica (Bilbao), Pelaires (Palma de Mallorca), Nordés (Santiago de Compostela) and Espacio Enhorabuena (Madrid).
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Ángel Calvo Ulloa (Lalín, 1984) is a curator and writer. He holds a degree in Art History from the USC and a Master's degree in Contemporary Art: Creation and Research from the UVigo. He has been co-curator, together with Marta Mestre, of O Fantasma da Liberdade / Anozero Biennial of Coimbra 2024.
His most recent curatorial projects include Jordi Teixidor. No-res, at Sala Alcalá 31 (Madrid); Juan Uslé. Ese barco en la montaña, at the Reina Sofía Museum (Madrid); ¿Adónde irá el pájaro que no vuele?, at La Casa Encendida (Madrid); Humores y Espesores, by Rodríguez-Méndez, at the CA2M (Móstoles); El sueño de la cólcedra, by Teresa Lanceta, at the Patio Herreriano Museum (Valladolid); Siron Franco: Pensamento insubordinado (Works, 1961-2023), at MAC Goiàs (Brazil); Nesting in the gesture: some shelves by Alberto, at the Cerezales Antonio y Cinia Foundation (Cerezales del Condado, León); Self-construction. Loose pieces. Juego y experiencia (Game and Experience), by Antonio Ballester Moreno, at Artium (Vitoria-Gasteiz); Complexo Colosso, CIAJG (Guimarães) or, together with Nuria Enguita, Habitación. The F.X. Archive, Laurencic's psychotechnical chekas and the function of art, by Pedro G. Romero, at CA2M (Madrid), MNAC (Barcelona) and La Nau (Valencia). Since 2011, he has also curated exhibitions at institutions such as Caixaforum (Barcelona), MARCO (Vigo), CCEMx (Mexico City), Fundación Luis Seoane (A Coruña), Tabacalera (Madrid), Centro Párraga (Murcia) and EACC (Castellón), among others.
In 2020, co-authored with Juan Canela, he published the book Desde lo curatorial. Conversaciones, experiencias y afectos (From the Curatorial Perspective: Conversations, Experiences and Affections), part of Consonni's Paper Collection.
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Walker is an installation that features three audiovisual works and a graphic work, conceived for Tabakalera by the Taiwanese filmmaker Tsai Ming-Liang.
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\n\nIn 2009, Face became the first film commissioned and included as part of the collection of the Louvre Museum’s Le Louvre s'offre aux cineastes programme. In 2023, Tsai was awarded with the Pardo Alla Carriera (Leopard of Honour) at the Locarno Film Festival for his distinguished career in cinema.
\n\nIn recent years, the filmmaker has also received attention within the art world, having been invited to participate in various art exhibitions and festivals, and for proposing such aesthetic ideas as the ‘Hand-sculpted Cinema’ and ‘The removal of industrial processes from art making’. In 2012, he began his Slow Walk series and has since completed twelve short films, which have been screened at art festivals and galleries around the world.
\n\nAside from cinema, he continuously develops stage plays and art exhibitions. The stage play The Monk from Tang Dynasty has toured for a decade since 2014. A Quest, an exhibition in cooperation with Centre Pompidou marked a milestone in the director’s artistic career. Back in Taiwan, he has actively promoted the concept of ‘The Art Museum as Cinema’ and ‘The Author’s Intended Way of Viewing’, introducing new film-watching modes as a way to balance the overly commercialised film market.
\n\nTsai Ming-Liang’s work has established one of the most distinctive bodies of practice in contemporary culture, presenting life in its truest form.
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