Visible Sound | January 11th – March 3rd
The “intermediate” practices have been making their way in the gallery world, as well as poetry, performance and different aspects of sound art and experimental music. This exhibition is nurtured from its title, since it includes works that present the visual linked to the sound in the individual work of the composer and artist José Iges.
His work is bounded by a work that, since the 80s, has gone through electroacoustic and instrumental music in interaction with live performers, different media and audio and visual media both analogue and digital, among which the medium deserves special mention radio and the practice of installation and performance. In some of these fields his work in common for more than 25 years with the artist Concha Jerez is remarkable.
But the artistic work of Iges has been fed back, in addition, of its tasks to the front of the radio program Ars Sonora -referent to the dissemination and production of sound art and radioart between 1985 and 2008, of its membership of the international group Ars Acoustics since 1989 and of its curatorial activity, a pioneer in Spain since the late 90s to the present in his commitment to sound art.
This complex and rich profile is shown in this exhibition through videos of creation, scores and various types of representations, supports and objects, not forgetting the sound works related to all those materials, which the visitor can access in various ways.
Special mention should be made of the productions made in 2017 for this exhibition, the video features contained in Buscando el infito and En el jardín de Cage, as well as the intermediate video installation One + One Hundred.
It is also the case of the creation and edition of the graphic work Dylan in Between, from the homonymous sound work; of that work, dated in 2001, a special edition has also been made on a translucent vinyl disc in a limited edition.
There are also exhibited schematics and scores that mark his compositional journey: Gestures (1982), for indeterminate instrumental group; Autoritratto and Seven Minutes Desert (both from 1990), which unite sound poetry to electroacoustics; and scores for soloists and recorded digital or live electronic support, such as Tejido en el aire (1988), Cristal II (1990), Azione-Reazione (1995) and La Isla de las Mujeres (1996), some of which are also action proposals in the concert space.