The unexpected is already a hallmark of Rendibú, which in this edition has got rid of its contest character to explore new forms of production with María Jerez and Playmodes
The ‘claim’ of this edition leaves no room for doubt: Rendibú -as its name already suggests- only pays homage to those who are part of the club. The Fellas creative agency, responsible for the communication campaign, seems to have borrowed the Spanish translation of its film relative ‘Goodfellas’ (Scorserse, 1990) to make a hyperbole with the sense of belonging and secrecy: “One of ours” . Only those who proved to be in possession of the bear’s bandana were authorized to enter the event. Do not think wrong, it is not a question of elitism or exclusion but rather of specificity and camaraderie. But in every band there is a hierarchy and the leadership put the greatest secrecy in preserving the surprise factor.
After proving our membership status, we were allowed to access the installation ‘Blob’, by María Jerez, which had come to settle a pending Rendibú account after successive cancellations. Far from losing its validity, in recent years the piece has become a classic that has even become part of the CA2M collection. ‘Blob’, a perfect balance between the visual and performing arts, poses a sea of fabric accumulations that appeals to the sensuality of the organic and the strangeness of science fiction. The composition of moving fabrics is a neat choreography activated by different elements, people and air. The horizontality of the proposal and the narrativity of the sound invite different journeys in which the viewer assumes the disturbing while waiting for a resolution, a revelation that will never come. The ‘entity’ -as it is named by the author- aims to frustrate the understanding, not to be trapped. Desire dwells; it only offers us sensuality and revulsion. And again. “At the moment when something new appears, it kills the previous one,” says María Jerez.
Members of the Salzillo Quartet during the Playmodes show ‘FORMS’. /
Already located -greetings of rigor and third Estrella de Levante through-, we were able to enjoy a couple of virtual reality experiences, as well as the capsule concerts in which the new folklore of Maestro Espada was the main attraction. The themed dinner, dedicated to the Ukraine, gave way to the real sensation of the night: ‘FORMS’ by the Catalans Playmodes in collaboration with the Salzillo Quartet. The piece is an overwhelming multimedia show for string quartet, electronic music and panoramic visuals based on the concept of live ‘graphic sonification’. Seeing the musicians come out on stage with their string instruments, all kinds of prejudices were activated among the audience, which were abruptly put down when a series of graphic elements began to unfold on the nine-meter screen, which were being translated at the moment by the virtuosos. interpreters of the Murcia Region Symphony Orchestra. The size, location, brightness and shape of each of these symbols were transformed into sounds when crossing the reading line of this peculiar score, allowing viewers to follow perfectly, and even anticipate the electronic track, which ran at different speeds on the same timeline. And we are used to the fact that the visual has more and more presence in the music reproduced and live -what would Eurovision be without the effects or the choreography-. Even Spotify has given up and is no longer limited to sound.
‘Espills’ was another of the central pieces of the evening, a hypnotic sculpture of dynamic light from a powerful laser
However, we are not talking here about a massive Windows Media Player that creates visual effects according to the frequencies, but rather the reverse process. Based on some previous rules, an algorithm creates a series of random images that are automatically transformed into music. It is the perfect integration between visual art and music, Kandinsky’s dream and my own, that I ‘read the staff’ but I don’t ‘write’ it. The interpretation raised several applause during its execution and a “how loud!” shouted out loud what we all thought.
Laura Sam and Juan Escribano then presented another form of musical hybridization, in this case close to the ‘spoken word’, on the same circular stage designed for the second Playmodes proposal, ‘Espills’. Without a doubt, another of the central pieces of the evening was this hypnotic dynamic light sculpture created from a powerful generative laser that, once again, translated the light designs into sound compositions, always in real time. Its creators say that originally the work had a narrative meaning that has been lost in favor of abstraction, of formal exploration; of aesthetic potential.
If this were a Umbral column, this last paragraph would be full of bold to name all the artists, writers, musicians, managers and designers who ended up doing the conga to the rhythm marked by the DJ or debating about the most banal issues in the universe, but since I must keep the discretion that is required of me so that they continue to chant the «gooble gobble, one of us» from ‘Freaks’ (Browning, 1932), I will conclude with a small reflection sticking to the sphere of the strictly artistic. As in the atonal music to which ‘FORMS’ refers, the unexpected is already a hallmark of Rendibú, which gets rid of its contest character to explore new forms of production. In this edition he has confronted us with an idea of art that is increasingly closer to music and technology, which suggests new ways of being an artist after his death announced by Deresiewicz, which, however, seems to be still attractive enough as if to provoke the telltale lapse of a friend, who confessed to me that he wanted to be “one of yours.”
#matter #camaraderie