New Works Salon LIV – El ruido son las casas – POSTPONED

Friday, March 27 at 8 pm

Doors at 7:30 / screening at 8 / $5 suggested donation


The New Works Salons series is a casual forum for the presentation and discussion of new works in film, video, sound, and performance, with local and visiting artists often in-person to introduce their work. This, the fifty-forth program in the series, will feature works by Luciana Foglio & Luján Montes, Jimena Sarno, and Carmina Escobar.

The program is centered on the feature length documentary El ruido son las casas (Noise is the houses) by Argentine artists Luciana Foglio & Luján Montes: Home and music, walls and rhythms, rooms and chants, echoes and facades. In the deeps of the city, different artists transform urban noise in expressive landscapes. The film proposes the discovery of multiple forms of sound creation in a nocturnal and unsettling Buenos Aires. The program will also include new short works by local artists Jimena Sarno and Carmina Escobar.

“Very much in the way a stage curtain is being lifted, as it uncovers an opera’s impressive props, a building under construction occupies the entire length of the opening shot. Dawn or twilight – who knows? – the workers’ noise from far away makes up the soundtrack. Here it is: the film’s instruction manual, which the enigmatic title was already pointing to, is given away: for their first film, Luciana Foglio and Lujan Montes have decided to connect dwelling and causing things to resonate, home and music, walls and rhythms, rooms and chants, echos and façades, etc. If this film goes through all these different scenes of contemporary music, post-punk, noise and so forth in Buenos Aires today – doing so with strict attention to their factories – it is not all a matter of a comprehensive guide addressed to specialists. What we are asked, instead, each and every time, is to experience the discovery of actual sound production in specific places. A magic moment comes, and in that respect it is no doubt exemplary, with the ballet of two metal chairs waltzing together, letting their feet screech on the ground: a striking sound sculpture evoking domesticity now become ghostly, it is at once the sounds’ and the choreography’s thin literality and a strong metaphorical power at the same time. Through this amazing back-and-forth movement the film goes forward, inviting us to come and fill ourselves the gap between the visible and the audible. An adventure as disconcerting as it is joyful letting us slip from one dwelling to another.” (JPR)

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