Mauricio Valdés San Emeterio
Artivism
sound installation
March-November 2019 – Palazzo di Dandolo, Venice, Italy – Artivism The Atrocity Pavilion, an independent exhibition during the 58. Venice Biennale.
“Souvenir” in collaboration with Elisabeth Ida – Indonesia-
The Auschwitz Institute for Peace and Reconciliation presents Artivism: In this exhibition art becomes a tool to reflect upon and respond to systematic violence, large-scale atrocity and mass genocide. Participating artists include Rebin Chalek, Grupo de Arte Callejero, Intuthuko Embroidery Collective, Elisabeth Ida Mulyani +Mauricio Valdés, Aida Šehvoć and the National Centre for Truth and Reconciliation
Press and invitation
The cycle Sluvodvod it’s produced by Zavod Sploh from Slovenia, its designed as a place to integrate and connect mixed media inside music concerts. Producing 5 events throughout 2019 on different locations of Slovenia, with a deep methodology to create, co-ceate, re-create, conceive and contextualize, collectively contemporary music.
Originally, Sluhodvod ensemble was formed by Mauricio Valdés, Tiza Neza Herlec, Ivana Maričić and Tilen Leban- Having one different guest for every event in order to create a platform of search, experimentation, try and link different forms to understand music and sound (written composition, improvisation, visual arts, musicology and sound art) using theory as one of the possible tools to shape the performances, As an exercise of thinking about different procedures, like principles of musical forms in sound organization combined with advanced stage performances, we have been aiming to compile content in different artistic outputs. Sluhodvod wants to potentiate the importance of the vast procedures and principles of today’s wide sound and music world. As well to recognize the reasons/senses and the choose of procedures for different context. As a form of critic of monolitic schools, where validation of craft it’s only one, where art with ideology can mix. So we have starting point articulate from the numerous possibilities considering them all valid to create a reflexion as the object of the creative act, erasing the limits of theory institution or technologies.
(2019 full year project)
Sluhodvod#1 — Resonance Link
Sluhodvod#2 — Delci Link
Sluhodvod#3 — Invasion Link
Sluhodvod#4-5 - Dates & location Oct-Dec 2019
as part of the collective Soap opera (K01 M04 J01) – The Cave
The Cave represents the first in the series of works that explore the borders between the individual experience of the world and the specific collective experience of it. An interactive mechanical device uses soap water to create fragile membranes that produce almost psychedelic textures of colour and light: the project is a literal depiction of immersion into a given reality that challenges the viewer by having seemingly omnipresent structures vanish into nothing. The installation allows for an experience of a momentary creation of some kind of a spatial divide that reflects the insecurity and fragility of experiencing reality, the instability of the balance between the subject and the world.
STRAN 22 is an interdisciplinary collective from the Slovenian Littoral that includes several artists from different fields – from visual and performative arts, architecture and design to original music and poetry. They have an interdisciplinary approach and a strong wish to explore new unconventional artistic expressions.
Software for the free sound improvisation
Produced with the help of “jóvenes creadores” program FONCA 2010-2011 -National Council of Arts, Mexico.
Arenero combines many of my professional interests. On on side it abstracts the craft of composition by using the dynamic modulation of sound as a piece form in the context of improvisation, where technology function as structure. The challenge it’s to find the conducting thread that emerge spontaneously.
The software started as my tool for live electric guitar performances, and it has grown to be a platform for workshops and various outputs. it aims to help me and others to find a good relation between structure and freedom. Link3
ongoing projects since 2010
The Blue SoundHub it’s the name of a itinerary soundart project that aims to interconnect different public/private sectors of Ljubljana, Slovenia, connecting institutions and individuals by organizing events that aim to form new audiences and create a bigger general interest about non-narrative music forms.
The activities are divided into workshops, presentations, different forms of sound and music analysis and general research directly related to sound creation and technology.
The project’s mechanics are based on a cross disciplinary platform conformed by the immense amount of cultural events the local productions put out and also the foreign talent who comes to the city throughout the year.
Thanks to the support of the Mexican Embassy in Vienna, the Pocket Teater Studio of Ljubljana, and it’s permanent collaboration with CIIDAT Mexico, this first season of activities are possible.
Directional sound research at Manchester University
Between 2020 and 2022, I will be doing a research at Novars Institute under the supervision of Ricardo Climent on the use of my custom made parametric ultrasonic speakers, using Raspeberry Pi micro computers for 3 main experiments:
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Sound reflection on different geometrics and materials,
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Bass compensation with attachable transducers,
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Mount directional speakers to flying drones.
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Full Articule proposal
Articule made by Install Magazine, Mexico:
Mauricio Valdés - Music and software development
Dr. Jure Pohleven - Music and Genetics Research
Presented at 2014 Linux Audio Conference @ZKM Karlsruhe, Germany.
“DNA Sequencer” is an ongoing project since 2014 based in Slovenia dedicated to crate artistic outputs linking realtime sound art generation, video interaction and genetics. Our research is spreading continuously in order to crate complex networks of information that can be usable for our performances.
This is conceived as a inter-media show presentation in one act with no cuts, consisting of a realtime generated sound art and video, all supported by one synthesizer, one electric guitar and one laptop computer.
The work begins with a sequence of notes with fully mechanized events sonic and visual events without human control; events are an exact replica of the translation of the genetic code to music and image. Gradually we incorporate our realtime sound events and start some sort of dialogue / battle with musical concepts rose by the genome’a output and/vs. ours. Formally, the piece is a hybrid of improvisation and sequences; inside an ideal scenario, the events that occur live overlap with the sequenced, leaving the resultant sound as a live expressiveness. The genetic algorithm is eventually dominated and subjected to control parameters that keep the work running, it’s participation and control remains essential for parameterize certain events of our electronic instruments, but without it’s own sound.
The play ends as the musicians decide on stage...
Unlike other approximations of sonification with genetics data, and specific sound art and/or music, had been done. As far as we have been able to research, all of them are base on the use of individual nucleotide or base (ACTG) to encode music, arbitrary assigning them to musical notes, and/or rhythmical figures. Our approach has many different and complex system of layering the data, this data then it’s assigned and it’s never a self-assigned process, it is based on our musical instincts and follows a strong artistic concept.
Zvokotok 2020:
Curate by Mauricio Valdés - produced by Zavod Sploh
A cycle of contemporary composed music
Zvokotok focuses on contemporary composed music. It is defined by the research of compositional procedures and often linked to music technology. It encourages and merges unique sound languages and performative innovativeness and moves contemporary compositions into new spatial and concert forms.
Zvokotok connects established institutional spaces of artistic activity with premises of the dynamic action of NGOs. It implements and maintains unburdened space of dialogue and overcome the artificial distinction between areas and venues of artistic activity.