Like one of those children’s crosswords puzzles consisting of a page full of numbered dots that, when connected with lines, draw us the silhouette of an animal or a recognizable figure. This exhibition takes this displacement of the hand on the paper as a way of approaching the cinema of Aura Satz. The difference is that here the dots are not numbered. They exist, but no notation can capture them. Drawing the contour thus becomes an elusive, shifting, interchangeable procedure, but also precise and generative. Connections happen in an experiential dimension without prescription. They happen in a more intimate, affective and sensual development.
Attuning focuses on a particular set of works within Aura Satz’s body of work from some blind spots – but not deaf ones – of the dominant narrative of electronic music and the conventions that have perpetuated it. The artist portrays a series of female composers who have been relevant to the development of electroacoustic music and the technologies associated with the creation of electronic sounds. The exhibition includes Oramics: Atlantis Anew, 2011, conceived as a tribute to Daphne Oram; Little Doorways to Paths Not Yet Taken, 2016, an intimate profile of the study of American composer Laurie Spiegel; and Making a diagonal with music, 2019, with electroacoustic composer Beatriz Ferreyra, a promoter of concrete music along with Pierre Schaeffer.
On 23 November at 18:30h, there will be a listening session with two of the artist’s telephone sound compositions: Dial Tone Drone, 2014, with Pauline Oliveros and Laurie Spiegel and Tone Transmissions, 2020, with Éliane Radigue, Julia Eckhardt, and Rhodri Davies. For this event, we will be joined by Aura Satz. After listening to the two sound pieces, there will be a dialogue between Aura Satz and Carolina Jiménez, the curator of Attuning.