– ON THE EDGE OF THE CONTOUR: A SERIES OF EXPERIMENTAL-MULTI-SONIC PERFORMANCES AND ANALYSIS-BASED TEXTS CREATED BY MEANS OF COMPROVISATION
ART & RESEARCH PROJECT (SUPPORTED BY KONE FOUNDATION. Helsinki, Finland 2021-2022).
SUMARY
On the Edge of the contour is a two-year art project that integrates research. The main convergent point between the artistic part (4 experimental-multi-sonic performances) and research (4 analytical texts based on the art works) is comprovisation. According to composer S. Bhagwati, comprovisation appears as a practice that allows score-base notated pieces the inclusion of improvisational elements, generating the coexistence between a contingent moment of performance, and a context-independent system of rules. Here I propose to use comprovisation as: 1) An experimental creative process, 2) A tool for using non-traditional notation or scoring, and 3) An analysis method for experimental-multi-sonic pieces. Namely, the core of its compositional-performative aim is expanded into a multifunctional tool that can be applied to different creative and analytical processes. Due to my role as a multidisciplinary sonic-based-artist/researcher and my transcultural identity, within this project I plan to develop ideas of experimental cross-genre creativity, multi-sonic performance, and instrumental deconstruction. Reassess soundscape composition, and the use of electronic devices and noise. Delve into physical approaches to sound performance, as well as gestuality in sound and music theater, using as study material Charlotte Moorman’s, Nam June Paik’s, Mauricio Cagel’s, and some of my own works. Finally, I propose to integrate the concepts of displacement and geocultural identity by philosophers J. Rancière and R. Kusch respectively. The works are all created and performed by myself and registered live in different scopes in Helsinki, in order to avoid traveling. Also to foster a more ecological awareness in art making, I plan to only use equipment found at hand, aiming to accomplish a sort of domestic and self-sustainable set up for each piece. On the other hand, all the registrations and texts will be published in online art platforms that promote mainly experimentalism.
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PROJECT
YEAR 1 (2021)
“On the Edge of Experimental and Traditional”
1. The Guts of The Atlas for traditional and modified cello and electronics.
Cellos and electronics: Sergio Castrillón.
RECORD (Arts First Records. Helsinki, Finland 2021)
TEXT
Imperial Histories-decolonized exchanges: researching with and through music/ Siirtomaavalta-Ajan Historiat – Dekolonisoudut Vuoropuhelut: Tutkimusta Musiikin Avulla ja Sen Kautta ARTICLE (Musiikinsuunta. Helsinki, Finland 2022)
Read here (in English) Read here (in Finnish)
2. Global Soundscapes for solo modified-amplified cello and voice.
Modified-amplified cello and voice: Sergio Castrillón.
RECORD (Eclipse Music. Helsinki, Finland 2021)
Watch here (Second performance at Unfinished Festival 2021)
TEXT
Global Soundscapes, A Comprovised-Sonic piece for solo modified amplified cello: A Displacement, Imagery and Unlearning Paradigm. (Apparatus journal. Belgrade, Serbia 2021. Pp. 22–23.)
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YEAR 2 (2022)
“The Contour of Music and Sound Art”
3. Killing The Beat II: An experimental multi-sonic performance/Installation created by means of comprovisation, for two amplified cellos, tuner table and soundscapes. Sergio Castrillón and the Rainforest Soundscapes Ensemble.
VIDEO TEASER (Produced by Interkult RY)
TEXT
(To be published in 2023 by Art and Research Collective PhD in One Night)
4. Skillo A sonic theater piece for skillo and Serge ´79.
Skillo and action performance: Sergio Castrillón.
Serge ’79, sound design, skillo design and action performance: Andrew Bentley.
VIDEO (Premiered at Marginalen Festival, 15th September 2022. Helsinki, Finland)
TEXT
(To be published in 2023)
Photo: Riikka Karjalainen
Sergio Castrillon 