Plexo Volátil (2019) Diana Policarpo, Joana da Conceição, Xavier Almeida at Bardo, Lisboa, PT
Screen, wood, wire, light and mixed media.
200 x 120 x 60 cm
Photography: Bruno Lopes
Kindly supported by Lehman + Silva Gallery
MAAT | Museum of Art, Architecture and Technology, Lisbon (PT)
EDP Foundation New Artists Award 2019 | Winner
Diana Policarpo – Death Grip, 2019
video animation stills, color, sound. Courtesy of the artist.
Death Grip (2019)
15 multi-channel audio installation synchronised with two 3D animations (HD, 16:9, color),
sound sculptures and controlled temperature.
Curated by Inês Grosso
Concept, composition and voice-over - Diana Policarpo
Video post-production - João Cáceres Costa
Writer - Emmy Beber
Sound Design - Edward Simpson
Mastering - Brendan Feeney
Architecture - Diogo Passarinho Studio
Photographic credits: Bruno Lopes
Lisboa Soa - Encontro de Arte Sonora, Urbanismo e Cultura Auditiva
20 - 23 September 2018, Lisbon (PT) Diana Policarpo - Chinampa (let the water lose its still form), 2018
Diana Policarpo Chinampa (let the water lose its form), 2018 6-channel Sound Installation Site-Specific Duration: 45' Terraço da Mãe D'Água, Lisbon (PT)
Em (let the water lose its still form) Diana Policarpo constrói uma ilha artificial de sons, texturas e direções. Situada sobre a Mãe d'Água de Lisboa, onde a água do seu reservatório alimentou a cidade no passado, e os sons que acompanhavam a sua viagem, retornavam circularmente à ilha, ao tanque do reservatório. Actualmente em desuso, a bacia encontra-se parada, povoada pelos seus próprios ecos. A composição sonora de Policarpo parte de gravações no local que seguem o som à medida que este se movimenta à volta de tanto formas naturais como de superfícies da arquitetura interna de Mãe d'Água, onde o líquido assume a forma da sua envolvente. (let the water lose its still form) situa o edifício e o tanque de água como ponto de partida e a captação de frequências audíveis e inaudíveis—os sons da água e a pausa no interior—transpostas para o terraço árido do edifício. A peça transforma as reverberações do tanque, prolonga-as e adensa-as numa assombrosa textura de espaço e de movimento perdido. Ocupando o perspectiva da água, Policarpo usa sobreposições sónicas para construirum "jardim flutuante" sonoro, "terreno fértil" ou “leito de lago raso" ao ar livre e propõe um corpo insular com a ilusão de volume e movimento.
Produced by Diana Policarpo
Sound Engineer: Brendan Feeney, Wave Studios
Photography: Vera Marmelo
Curated by Raquel Castro
More info here: http://www.lisboasoa.com/
Belo Campo | Galeria Francisco Fino, Lisboa (PT)
Diana Policarpo – Dissonant Counterpoint, 2017-18
Dissonant Counterpoint, 2017-18
9- channel Sound Installation
Part I: Two Movements: Three songs for Soprano and Clarinet(Beyer, 1934-38) +The Spheres(Policarpo, 2017)
4- channel electroacoustic composition
Composition: Johanna Beyer, Diana Policarpo
Bass Clarinet: Emmy Beber
Mastering: Brendan Feeney / Wave Studios
Duration: 21' 20'' (loop)
Part II: Three Songs for Soprano and Clarinet (Beyer, 1934 -38)
LED board, text
I. Total Eclipse
II. To Be
III. Universal- Local
Dimensions: 35 x 11.5 x 67
Duration: 8'10'' (loop)
Part III: From Leipzig to the Bronx: Letters from Beyer to Cowell (1935-41) + Status Quo/Music of the Spheres: Opera Typescript (Beyer, 1938)
5- Channel Sound Sculptures
Perspex, speakers, metal
Spoken word: Emmy Beber
Dimensions: 60 x 60
Duration: 12' 54'' (loop)
The performance-installation "Dissonant Counterpoint" is another chapter in Diana Policarpo’s extensive research, ransom and reinterpretation of the oeuvre of ultramodernist composer Johanna M. Beyer (1888-1944), a seminal name – albeit rendered highly invisible and marginalised – in electronic music and experimental composition. By bringing into dialogue Beyer’s work and life, according to a feminist political perspective and resorting to a device that is set in motion by parallel trajectories – sound, text, sculpture –, Diana Policarpo appropriates, inscribes in the present and breathes life into the musical legacy of the German-American composer, drawing attention to the historical discrimination and invisibility of women (a single, immigrant woman of the 1930s, in Beyer’s case) as well as to a fundamentally androcentric and limiting artistic canon. Dissonant Counterpoint repositions and reworks two compositions by Johanna M. Beyer. Status Quo/Music of the Spheres (1938), an un fished political opera adapted by Policarpo in The Spheres (2017), and Three Songs for Soprano and Clarinet (1934), whose three corresponding poems, elegies to the movements of the cosmos and life written by Beyer, are also present in this installation in a situation of constant tension with the holistic character of Music of the Spheres – Beyer considered rhythm and sound as antagonists, both in music and in nature and the cosmos. Policarpo also evokes Beyer’s words using excerpts of her letters (1935-41) to American composer Henry Cowell in a spoken word audio piece by Emily Beber. In line with the spirit of the politically powerful finale of Music of the Spheres, in Dissonant Counterpoint Diana Policarpo offers a sort of posthumous social-political catharsis for Johanna M. Beyer. Mariana Duarte
(...) As loving subjects, we tell ourselves sacrificial stories all the time: we are nowhere gathered together (3), and scramble to make sense of subtle gestures, decipher what’s behind late night text messages, and decode the rhythms of affection. The methods are diverse: find a fictional character that’s going through exactly the same thing, sing along to the pop song that just gets you, or carefully study astrological compatibility charts. When it comes to attracting the object of desire, we attempt to conjure our own magic: wear perfume, keep little secrets, create an air of mystery. These words and gestures are borrowed, as we have been repeating the same myths for centuries. And yet, they feel unique, giving us the precise affirmation we need for our solitary devotion. Like a pharmakon, these carefully measured rituals offer the momentary fix of being in control, while simultaneously exposing our fundamental dependence on such supplements.
‘The fiction of the fix’ brings together artists that share a concern with the rituals of the everyday, and how language, voice, and myth can become physical in their potency to attract. The works unabashedly devote themselves to a cause we can’t quite put our fingers on, allowing us to project our own obsessions. As they straddle the common and the supernatural, we are invited to give into superstition, exaggeration, and the cliché: discover the antidote in your own kitchen, and break the curse with your own two hands.
Morphogenesis, Galeria Francisco Fino, Lisboa (PT)
We are experiencing a critical period of change. Below the surface, tectonic forces have intensified unforeseeably, questioning previously stable contours of reality. Life is being defined by a sweeping notion of crisis which underlines the multilayered social embeddedness of ecology, economy, politics, representation and science. We are left to inhabit an interstice of fluid boundaries and to witness the friction of opposing movements and different perceptions of space and time; a transitional moment of hybrid conditions and arrangements in which new entities are taking shape. The word morphogenesis describes the development process of an organism’s form. It is a concept originally found in biology which here signals the current moment of transition.
This exhibition focuses on ideas such as transformation and difference, analysing the present and speculating about the future by looking at how change is affecting our notion of what life is and what it might become. The selection of artists included analyses how affect, capital, images, language, objects and systems are being constituted and transformed while circulating. Their combined investigations create a polyphonic map embracing the complexities and paradoxes of our current condition. J.L