mass of branched decomposition, 12mins, mp3 recording from live performance & field recordings, 2021
materials: voice (breath), SK-5 casio sampling keyboard, rocks, dry lichen, dry leaves, bark, sticks, wood, tin bucket.
Mushroom sculpture by artist Florencia Escudero

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The fungi grow as a branching network of hyphae, or "web" and decompose organic matter by releasing enzymes to break down the decaying material. I wanted to explore fungi’s agency and poiesis as "silent" decomposers and how these processes are dependent on all living beings. By evoking dialogues, frictions and collisions between organic & inorganic dead matter through sound and field recording techniques, the pieces create an ambiance where many "voices" are in co-presence. The crisp sound of dead lichen, dead leaves and wood merge with the pounding of a tin bucket, perhaps as a symbol of agricultural labor and land/human exploitation. A plane flying above suggests our anthropocentric view and experience of the world. Imagine a mushroom decomposing matter at a construction site or on the sidewalk of a megacity. While these sounds continue and grow, we hear an agitated breathing, human or non-human, elucidating the interconnectedness of breath with these sounds. Breathing, including human breathing, is sustained by the vegetal world and its processes.

mass of branched decomposition

hyphae (becoming), 10mins, mp3 recording from live performance & field recordings, 2021. materials: voice (breath), SK-5 casio sampling keyboard, rocks, dry lichen, dry leaves, bark, sticks, wood, tin bucket.

The fungi grow as a branching network of hyphae, or "web" and decompose organic matter by releasing enzymes to break down the decaying material. I wanted to explore fungi’s agency and poiesis as "silent" decomposers and how these processes are dependent on all living beings. By evoking dialogues, frictions and collisions between organic & inorganic dead matter through sound and field recording techniques, the pieces create an ambiance where many "voices" are in co-presence. The crisp sound of dead lichen, dead leaves and wood merge with the pounding of a tin bucket, perhaps as a symbol of agricultural labor and land/human exploitation. A plane flying above suggests our anthropocentric view and experience of the world. Imagine a mushroom decomposing matter at a construction site or on the sidewalk of a megacity. While these sounds continue and grow, we hear an agitated breathing, human or non-human, elucidating the interconnectedness of breath with these sounds. Breathing, including human breathing, is sustained by the vegetal world and its processes.

Mushroom sculpture by artist Florencia Escudero

hyphae (becoming)

Départ #2, 2016. Sound poem, 1:12 mins.
Voice: Delphine Passot

The spoken words of the poem are placed over one another organized in columns in Final Cut. The whole poem is heard in one utterance, then words disappear, one by one. The saturation of sound transforms the temporal qualities of the poem. Words are organized as if they were concrete raw material deconstructing a poetic sculpture.

Départ is a poem by Arthur Rimbaud written just a few months before he abandoned poetry. Absence (départ) is a project divided into three actions or gestures, where I explore the spatial and fleeting agency of words, the plasticity of spoken language and the possibility of alternative translations. Words are used as raw material to deconstruct, dissect, and play with the monumentality of his action.

Assez vu. La vision s'est rencontrée à tous les airs.

Assez eu. Rumeurs des villes, le soir, et au soleil, et toujours.

Assez connu. Les arrêts de la vie.  — Ô Rumeurs et

Visions!

Départ dans l'affection et le bruit neufs!

Départ (Ausencia)

In these series, I photograph the moon with different camera movements,(with an open shutter and a long exposure) creating abstract calligraphic lines with moonlight. I wanted to transform our static reference of the moon, and simultaneously rethink the trajectories of ghost satellites that orbit in space and are unable to perceive.

Through a series of instructions, these scores are performed and interpreted in collaboration with musicians to produce a dissonant, open, and expansive sound scape.

This score is performed by musician Adriana Camacho

Variaciones Lunares (1)

Rezo 1

Rezo IV

Estridulación

Insect Poem

Rezo VII

Rezo VIII

Rezo IX

La pieza toma como estructura visual la composición de los poemas acrósticos, traduciendo esa verticalidad del lenguaje a una experimentación verbal y sonora, re-pensando la hibridación e interconectividad (o su fracaso) entre materiales orgánicos e inorgánicos. Los cables que cuelgan y se enredan en los árboles del espacio público en la ciudad remiten a ese lenguaje acróstico de palabras residuales que caen. Esta instalación revela procesos de escritura experimentando con instrumentos, palabras, ruidos y grabaciones de campo.

cableado acróstico

sonoro rugir (anti-himno)

GRIETAS
(ensamble de improvisación)

Ex-Teresa Arte Actual
Ciudad de México 
30 junio 2023


Concepción Huerta: sintetizadores
Anahy Cabrera (ZETA): visuales
Vania Fortuna: voz y procesos 
Lucía Hinojosa: voz y teclado

Grietas es un ensamble de improvisación que explora los espacios liminales, los huecos, las heridas y las grietas como puntos de encuentro y posibilidad. Desde la herida sonamos, observamos, y dialogamos para fusionarnos con el cuerpo-territorio a través de la improvisación sonora, visual y textual.

Escuchamos el trazo agrietado del sonido. La partitura es una grieta o herida colectiva que sostiene multiplicidad de voces. La improvisación es un acto de profunda vulnerabilidad, un espacio invisible que atraviesa lo social y lo político para generar un sitio seguro en donde podemos reconstruir para renombrar.

Textos originales de Lucía Hinojosa
Fragmentos de los poemas

Tallar o llorar (poemas telúricos)
Surcomancia 
Circuito telaraña

LuciaHinojosaGaxiola

Pinned to spotlight

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