At 4.00 pm on 22 May, coinciding with the spring new moon and the 37th anniversary of the finding of a 19-metre-long Whale on the beach of El Prat de Llobregat, the artist Consol Llupià invites us to join her in Vibraera, an energetic action based on the principles of love, joy, unity and co-operation which consists of the collective synchronisation of vibrations in tune with the network of cetacean consciousness.

At www.vibraera.net, you will find information to help you participate. You are free to do so in your own personal way. Your contribution will be published on the website and will gradually be complemented by the participation of the artist’s collaborators from institutions and organisations across the fields of energy, the environment, science, law, social and sporting activities, humanitarianism and art, as well as from the emotional network of individuals linked with cetaceans who have brought their enthusiasm and commitment to this project, which began in May 2018 when Llupià asked the whale if it wished to return to the sea.

Share your experience on social media using the hashtags #labalenadelpratalprat and #Vibraera.

We are sharing with you the sample pack LOST WORLDWW MUSIC (MYSPACE DRAGON HOARD – SAMPLE PACK #1), produced and compiled by the musician and visual artist Daniel Moreno Roldán (www.danielmorenoroldan.com). The pack is available to download completely free of charge. Please share it with anyone you think might be interested.

*** DIRECT DOWNLOAD LINK: bit.ly/2S6E73O

*** BANDCAMP: https://myspacedragonhoard.bandcamp.com/

*** SOUNDCLOUD: https://soundcloud.com/danielmroldan/lost-worldww-musicsample-pack-preview

All the samples in this pack come from songs in the Myspace Dragon Hoard (http://lostmyspace.com/), a vast collection of almost half a million MP3 files originally hosted on the Myspace social networking website.

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Daniel Moreno:

In March 2019, Myspace announced that all the music hosted on its servers since before 2015 had been permanently deleted due to supposed professional negligence. Around 50 million songs made by some 14 million artists had disappeared forever because of an error during server migration. Internet Archive (https://archive.org) – a library that works to preserve digital archives – managed to recover 1% of the material lost by Myspace and stored it in an archive entitled the Myspace Dragon Hoard.

The LOST WORLDWW MUSIC (MYSPACE DRAGON HOARD – SAMPLE PACK #1) pack contains 350 WAV files created using samples of the songs from Myspace recovered by the Internet Archive. In it you will find all kinds of sounds that you can work on with your preferred DAW, sampler or tracker. The quality of the samples varies considerably, as some come from commercial numbers, and hence are well produced, while others are genuinely independent and lo-fi recordings. I have opted not to process them that much with regard to compression and EQ in order to give you greater freedom of choice and more fun when you come to attempt to find your desired sound.

There are a lot of instruments like synthesisers and pads, a number of bass guitars and drums, choirs and soloist singers, a variety of percussion instruments, numerous guitars and pianos, string and wind instruments and even some sound effects. I have also included a number of loops made using some of the instruments in the pack. Most of the samples have been digitally processed, but some were created using analogue equipment (such as multitrack tape recorders, filters and effects pedals).

Even though the sound quality of the samples is undoubtedly important, what matters most to me is what they signify at a conceptual level. I cannot help but be moved and feel especially motivated when I remember, as I use these samples in a new project, that they are all fragments from songs from all over the world that were about to disappear forever but were saved by a miracle.

In any event, I hope this sample pack will help you to create something new and amazing. It’s the first sample pack I’ve produced, so I’m interested to hear your views and tips: morenoroldandaniel@gmail.com

And it goes without saying that I’m keen to hear your new productions! :D

Dani

The Verses of Flesh

Reading group with Alex Díaz

Dates: February 5, 7 and 10, 2020, from 7 to 8 pm

While delving deep into the mysticism of Turba Turbo, Alejandro Alonso Díaz will lead a reading group that will meet for three consecutive sessions to explore the physical cadence, texture and acoustics of this sedimented space.

Inspired by a series of mystical writings by women in the 13th and 14th centuries, as well as by a group of contemporary writers and musicians, this group is seen as a small brotherhood that will explore forms of metabolic fiction, post-feudal speculation and physical resonance through the intonation, rhythm and harmonies of a joint declamation.

If you wish to join this group, we will be launching an open call for applications from anyone interested in the issues described. Please note that we will be accepting a maximum number of participants in keeping with the nature of the group.

To participate in this reading group, you must send an email with an attached brief statement outlining the reasons for your interest to lacapella@bcn.cat.

How to turn an egg into crème caramel

Collective research get-together with Sara de Ubieta

Dates: Wednesday 22 and 29 January 2020 between 7.00 and 9.00 pm

“Recipes are common property, they are shared, they are tried and they are altered.”

How to turn an egg into crème caramel is a collective research get-together led by Sara de Ubieta. Connected with footwear design and the handicrafts, she takes as her starting point the processual methodology of cooking – in which the physical nature of the ingredients constantly mutates and transforms – employing unconventional materials and forcing them into a specific form: the negative of a foot.

Just as wet sand is capable of copying the shape of a bucket when we make a castle on the beach, so this same magical condition will enable an egg to turn into crème caramel.

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To participate in this get-together, you must send an email with an attached brief statement outlining the reasons for your interest to lacapella@bcn.cat.

Encounter with Martin Llavaneras

Sunday 19 January 2020, at Midday

Free entry

An εξέδρα (exedra) is a semi-circular stone bench situated at the back of the apse in Christian chapels, an architectural feature that facilitates contact and conversation between various interlocutors. This idea of a place of encounter, reflection and dialogue in the space of a chapel is the perfect metaphor for what the artist and educationalist Jordi Ferreiro seeks to achieve with his mediation project for Barcelona Producció 2019: to turn this space into a nexus with residents in the Raval through projects that can forge deep and lasting connections. The La Capella building, part of the former Hospital de la Santa Creu, served as this force for integration and social mediation back in the past. The hospital was a pioneering complex in Europe, since it combined the six hospitals in the area to provide an effective, modern and extremely necessary service to the city of Barcelona, and its chapel was the place where social interaction and mutual support took place between the various users and residents of the city. Exedra approaches art as a tool of subjective thinking that diverges from and is critical of logical or doctrinaire thinking, and for this reason it is crucial for empowering the citizens of Barcelona. Exedra proposes to work on each exhibition with artists and agents of La Capella as equals, since art and mediation are regarded as a space for learning together.

Lola Lasurt’s exhibition Joc d'infants (Children’s Game) looks back at the retrospective Miró. Barcelona 1968-69, the first contemporary art show presented at La Capella. Through a new series of paintings, photos, videos, and ceramics, Lasurt addresses the socio-political turmoil in Spain at the end of the 1960s. She depicts imagery related to childhood published in the national press during the three-month state of emergency declared in Spain just a few days after the Miró exhibition had ended. Lasurt therefore relates two forms of transition: a period of emergency from the perspective of both political and personal development. The title is a reference to the ballet Jeux d’enfants by the Ballets Russes de Monte-Carlo, with music composed by Georges Bizet, libretto by Borish Kochno and sets and costumes by Miró, performed at the Liceu in 1933.

Nada te turbe. Todo se pasa (Let nothing disturb you. All things are passing). Martin Llavaneras conceives the architecture of La Capella as a sculpture made of small lumps of sand. This resonance, the tide consuming a castle, is the anchor of Turba Turbo, a project which explores the circulation of sand as disfigured, latent and potentially gothic matter.

Link:

www.martinllavaneras.com

With the support of:

(Circular Fable. Alone and Maddened; Between Total Accuracy and a Song by Sau)

* Opening: Tuesday, March 10, at 7 pm

Faula rodona started four years ago when Pere Llobera found himself looking at Richard Dadd’s painting Titania Sleeping. The real madness of its painter, who produced all of his paintings while a patient in a psychiatric hospital, gave us not an aphorism but a weighty axiom: “there is no art without conflict”. The apathy of the world today and the fact that, as Imre Kertész states, “we live in a metaphysically abandoned world” call on the artist to generate this invocation of conflict and wonder inside the Chapel of the Santa Creu.

Mishima went to talk to some students hostile to him at the university. One of the youths shouted, “Mishima! Be sensible!” To which he replied: “How can you expect me to be sensible if I’ve come here today?” This would be the spirit of the exhibition: to keep, contrary to all logic and prudence, the Chinese plates spinning on their poles and to end up sewing the sticky web of this project to which everything the artist was seeking and everything that has crashed into it by accident has adhered.

Caterina Almirall proposes to regard the museum as a space that straddles life and death, taking as her starting point the theories put forward in the late 19th century by the Russian group of philosophers known as cosmists, as well as their utopian project for an immortal humankind which, thanks to technology, would even be able to revive all its ancestors. To solve the issue of overpopulation which this resurrection would entail, the space race was expected to provide humans with the technology to conquer the cosmos and to send all those resuscitated to other planets that would, therefore, become museums. According to Fedorov, one of the main theorists of cosmism, the museum would be the only available technology that would have an effect in the past and the future in non-progressive terms, “a technology for making things last, become immortal”. The museum, as Fedorov understood it, operates as a mechanism for triumphing over time. These ideas point to the radicality of a time that is always present, in which there is no room for the imitation, the copy, the reproduction or regeneration, and they highlight the unique value of everything held in museums. The dilemma between life and death, between preserving and living, between saving and losing, and the negotiation between the past, present and future form the node around which this project is structured. Thus, Almirall’s artistic practice posits a possible urge for permanence, a dialogue between timescales or, to put it in other words, a way of ‘talking to the dead’.

Exhibition: Samuel Beckett, Mariana Castillo Deball, Carlos Fernández-Pello, Lara Fluxà, Marc Larré, Daniel Moreno Roldán, Jorge Satorre, with the collaboration of the Museu d’Arqueologia de Barcelona.

Performance: Ariadna Guiteras, Theoria (Beatriz Regueira, María González and the collaboration of Dasha Lavrennikov).

Activities: Ariella Azoulay, María Iñigo Clavo, Patricio Guzmán, Roc Herms, Alain Resnais & Chris Marker, Anton Vidokle, Roc Herms.

Publication: Lúa Coderch, Catalina Lozano, Anton Vidokle.