Nets of Hyphae, Galeria Municipal do Porto, PT
04/12/2020 - 14/02/2021
Nets of Hyphae, 2020
Curated by Stefanie Hessler
Co-Production Kunsthall Trondheim, NO
Credits: Dinis Santos / Galeria Municipal do Porto
MAAT | Museum of Art, Architecture and Technology, Lisbon (PT)
EDP Foundation New Artists Award 2019 | Winner
16.05- 09.09.2019
Diana Policarpo – Death Grip, 2019
Photographic credits: Bruno Lopes
Installation view.
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.
Duration: 17'20''(loop)
Dimensions variable.
Curated by Inês Grosso
Credits:
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
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:
http://umbigomagazine.com/en/blog/2018/02/27/dissonant-counterpoint-johanna-m-beyer-diana-policarpo/
10000 Anos depois entre Vénus e Marte, Oporto (PT)
09.12.2017 - 18.02.2018
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
LUX - Moving Image, London
Marie Kølbæk Iversen and Diana Policarpo
Autumn Equinox Celebration, 2017
Kunsthall Oslo, Norway
Marie Kolbaek Iversen, Gaia Fugazza and Diana Policarpo - Star Messenger, 2018
Feb 2018
Feb 2018
LUX - Moving Image, London
Marie Kølbæk Iversen and Diana Policarpo
Autumn Equinox Celebration, 2017
Kunstverein Leipzig (DE)
08.11.2017 - 10.12.2017
Diana Policarpo - Dissonant Counterpoint, 2017
Installation view.
Dissonant Counterpoint, 2017
9-Channel Sound Installation
Two Movements: Three Songs for Soprano and Clarinet (Beyer, 1938) + The Spheres (Policarpo, 2017)
Electroacoustic composition for 4 multi-channels
Duration: 21''20 (loop)
Composition: Johanna Beyer, Diana Policarpo
Bass Clarinet: Emmy Beber
Mixing + Mastering: Brendan Feeney
Three Songs for Soprano and Clarinet
I. Total Eclipse
II. To Be
III. Universal-Local
Duration: 8''10 (loop)
LED Board (Poems)
From Leipzig to the Bronx (Letters), 2017 + Status Quo/Music of the Spheres' Opera Typescript, 1938
Sound Sculptures (5x) for 5 multi-channels
Applied Materials: plexiglass,cable,speakers,wire;
Dimensions: 50 x 50 x 82 cm
Duration: 12''54 (loop)
Spoken Word: Emmy Beber
Curated by Anna Jehle and Juliane Schickedanz
Publication by Gloria Glitzer (Edition of 250)
Photography © 2017 Casper Saenger
Publication available upon request.
Links:
Photography © Gloria Glitzä
Installation view.
Sun in Cancer, 2016
9-Channel Audio Installation
Site-Specific
Applied materials:
Sound speakers, equalizers, audio cable.
Duration: 23'53'' (loop)
Percussion, synthetizer, pedals and electronic generators: Diana Policarpo
Theremin: Hannah Catherine Jones
Voice: Diana Policarpo / Hannah Catherine Jones and
Composition for The Spheres: Diana Policarpo
Sound-Sculptures (bean bags), 2016
Applied materials:
Fabric, sound speakers, polysterene, mp3 players, pre-amplifiers and audio cable.
Dimensions:
102 x 88 x 117 cm (hxbxl)
Spoken word: Charlotte Puder (German version) and Diana Policarpo (English version)
Duration:
1- C. P - Johanna Beyer, Total Eclipse (1934) and Universal-Local (1934), 3' (loop)
2- C. P - Johanna Beyer, Status Quo/Music of the Spheres Prelude + Act I (1938), 2':34'' (loop)
3- C. P - Johanna Beyer, Letters to Henry Cowell (August, 1936), 1' (loop)
4- D. P - Johanna Beyer, Total Eclipse (1934), Universal-Local (1934), Status Quo/ Music of the Spheres Prelude + Act I (1938), Letters to Henry Cowell (August 1936), 7' 3'' (loop)
Visual Scores (Steel Sculptures), 2016
Applied materials:
Steel, acrylic and graphite.
Dimensions:
Screen 1- 200 x 135 x 60 cm
Screen 2- 200 x 135 x 60 cm
Screen 3- 200 x 135 x 60 cm
Untitled I - 180 x 95 x 60 cm
Untitled II - 200x 50.5 x 51 cm
Site-Specific Light Environment
Applied materials:
Blue foil.
Dimensions variable.
Sun in Cancer, September 2016
Curated by Anna Jehle and Juliane Schickedanz
Photography by Lucie Marsmann
lAB - Artists Unlimited, Bielefeld (DE)
Sun in Cancer is a site-specific installation comprised of sound, light and mixed media sculptures.
It is constituted by six audio channels, sound-sculptures, tridimensional visual scores casted in steel and the total transformation of the glass surface of the space. This project is an evocation of the work of Johanna Magdalena Beyer (1888- 1944). Reaching into the past and drawing connections to present-day existence, Sun in Cancer creates a counter-hegemonic genealogy of ways of being-in-the-world and is an homage to Beyer's revolutionary (and lost) political opera Status Quo (1938).
Site-Specific
Applied materials:
Sound speakers, equalizers, audio cable.
Duration: 23'53'' (loop)
Percussion, synthetizer, pedals and electronic generators: Diana Policarpo
Theremin: Hannah Catherine Jones
Voice: Diana Policarpo / Hannah Catherine Jones and
Composition for The Spheres: Diana Policarpo
Sound-Sculptures (bean bags), 2016
Applied materials:
Fabric, sound speakers, polysterene, mp3 players, pre-amplifiers and audio cable.
Dimensions:
102 x 88 x 117 cm (hxbxl)
Spoken word: Charlotte Puder (German version) and Diana Policarpo (English version)
Duration:
1- C. P - Johanna Beyer, Total Eclipse (1934) and Universal-Local (1934), 3' (loop)
2- C. P - Johanna Beyer, Status Quo/Music of the Spheres Prelude + Act I (1938), 2':34'' (loop)
3- C. P - Johanna Beyer, Letters to Henry Cowell (August, 1936), 1' (loop)
4- D. P - Johanna Beyer, Total Eclipse (1934), Universal-Local (1934), Status Quo/ Music of the Spheres Prelude + Act I (1938), Letters to Henry Cowell (August 1936), 7' 3'' (loop)
Visual Scores (Steel Sculptures), 2016
Applied materials:
Steel, acrylic and graphite.
Dimensions:
Screen 1- 200 x 135 x 60 cm
Screen 2- 200 x 135 x 60 cm
Screen 3- 200 x 135 x 60 cm
Untitled I - 180 x 95 x 60 cm
Untitled II - 200x 50.5 x 51 cm
Site-Specific Light Environment
Applied materials:
Blue foil.
Dimensions variable.
Sun in Cancer, September 2016
Curated by Anna Jehle and Juliane Schickedanz
Photography by Lucie Marsmann
lAB - Artists Unlimited, Bielefeld (DE)
Sun in Cancer is a site-specific installation comprised of sound, light and mixed media sculptures.
It is constituted by six audio channels, sound-sculptures, tridimensional visual scores casted in steel and the total transformation of the glass surface of the space. This project is an evocation of the work of Johanna Magdalena Beyer (1888- 1944). Reaching into the past and drawing connections to present-day existence, Sun in Cancer creates a counter-hegemonic genealogy of ways of being-in-the-world and is an homage to Beyer's revolutionary (and lost) political opera Status Quo (1938).
Visions of Excess, 2015
Wall:
multi-channel and mixed media installation
sound speakers, amplifiers, cables, cardboard, chalk, wood and mix media
Dimensions variable
Duration: 10:40 min
Cave:
wood, amplifier, sound speakers, soundscape and spoken word
Duration: 15:25min
Dimensions variable
℗ Courtesy of the Artist
Xero, Kline and Coma, London
In Visions of Excess, Diana Policarpo pairs George Bataille's work on 'general economy' The Accursed Share (1946-49) with Silvia Federici's Caliban and the Witch (2004) where she analyses the history of women's oppression and the body in the transition to capitalism, investigating the rationalisation of social reproduction.
This work is driven by a soundscape and voiceover that evokes and reflects how bodies can be transformed in a register of experience but also limited in both space and time.
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