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












Installation view.

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 construir  um "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/
Contemporanea.pt
Ed. 06/2018
Ensaio - por Sofia Lemos




Essay (PT/EN):  https://contemporanea.pt/edicoes/06-2018/diana-policarpo-agencia-reverberante



(...) Attuning to vulnerable figures, to the precariousness of female bodies working as unwaged labour and women’s historical exclusion from capitalism development (also in Marxist and post-structuralist accounts) is vital to rehearse conditions through which we can engage practices of rescuing from, resisting to and sounding the canon. (...)
In a sonic practice of aural communion, tuning in to the world is to draw attention to the intricate relation between language and speech, power and violence, legibility and inequity. Building on Susan Sontag’s provocation “Silence is the artist’s ultimate other-worldly gesture, attunement is foundational to any auditory position, which in Policarpo’s practice is announced as in and of itself. To this question—the rapport between sonic expression and the body and affect as a means of communication with the world—Policarpo’s artworks proposes a complex ethics of sonic thought and materiality. Previously parsed by the dawning discourse of the Enlightenment, the mind and the ear in unison radiate the impossibility of containing singularity. Intimately entangled, resonance and attunement are the bastions of its alliance.

- Sofia Lemos

Belo Campo | Galeria Francisco Fino, Lisboa (PT)

26.01- 01.03.2018





Diana Policarpo – Dissonant Counterpoint, 2017-18
























Installation view.


Diana Policarpo
Dissonant Counterpoint, 2017-18

9- channel Sound Installation
Site-Specific 
Dimensions variable.


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
Curated by Adrien Missika

Links:







10000 Anos depois entre Vénus e Marte, Oporto (PT)
09.12.2017 - 18.02.2018

Diana Policarpo - Sun in Cancer, 2016-17






Installation view.


Diana Policarpo
Sun in Cancer, 2016-18


Coleção António Cachola na Galeria Municipal do Porto. Fotografias de Dinis Santos. Cortesia da Galeria Municipal do Porto. 

Curated by João Laia

Links:
https://contemporanea.pt/edicoes/01-2018/10000-anos-depois-entre-venus-e-marte




Kunsthall Oslo, Norway

Marie Kolbaek Iversen, Gaia Fugazza and Diana Policarpo - Star Messenger, 2018
Feb 2018












LUX - Moving Image, London 

Marie Kølbæk Iversen and Diana Policarpo

Autumn Equinox Celebration, 2017