From 27 de March 2019 al 24 de June del 2019
Miguel Isaza, [Medellín, Colombia, 1989]. Philosopher dedicated to researching sound and listening, crossing art, design, and thought in a body of work traced through compositions, texts, performance, installation, and curating.
He is co-founder of Laboratorio Éter and the local label Monofónicos. Curator at the Auditum festival and director of the media outlets Sonic Field and (oasis). His compositional process is primarily based on microsound techniques that propose the interpretation of sonic matter through various qualities that define its mass, texture, grain, density, or extension. Thus, the sound that is captured and processed can be understood as a kind of alchemy, and the process of capture and composition is nothing other than inhabiting a laboratory and collecting specimens that inhabit acoustic space. This develops alongside a parallel process of research, ontological inquiry, and collective processes, reflected in the artist’s written work, his workshops, and talks. Notable among these are the talk “Mestizofuturismo” at the Festival Internacional de la Imagen, the NO-VISIBLE workshop developed at Medelab, and the research process on the Auditum platform.
His compositional work has been published on renowned record labels dedicated to sound art and experimental music, including LINE Imprint (United States), Dragon’s Eye Recordings (United States), F901 Editions (Italy), Eilean Records (France), White Paddy Mountain (Japan), Audiotalaia (Spain), Nova Fund (Mexico), Akasha (Colombia), among others. His installations incorporate elements of compositional work but tend to focus on the material reflection of sound in invisibility; therefore, they are usually carried out in multichannel format, in dimly lit spaces, with hidden speakers and a direct call to listening itself. Notable is his installation “Ethereal Fortore: Swarm” with speakers hidden in a garden in a town in southern Italy, under the Luminaria 2016 residency. His installation microcosmos in collaboration with artist David Escallón for Flora Ars+Natura, in Bogotá. In live performance, the acousmatic approach is maintained, placing the artist in the middle of or behind the audience, avoiding light, and seeking to explore the space through multiple channels that allow a concrete experience of sound, in frequencies, in levels, in forms. Notable concerts: Official closing of the Festival de la Imagen alongside Rossana Uribe, Concierto 4×10, MAMM.