"Into The Macchina". Atronador Fest 2018
Orquesta de Rumore, Black Box Las Cigarreras, Alacant (April 14, 2018).
Andrews Wax, Jay Thermite, Diego J. Montana, J. Charles Stone.
Video: Luis Lamadrid.
[ April 23, 2018 ]
"Into The Macchina". Atronador Fest 2018
Orquesta de Rumore, Black Box Las Cigarreras, Alacant (April 13, 2018).
Andrews Wax, Jay Thermite, Diego J. Montana, J. Charles Stone.
Video: Luis Lamadrid.
[ April 23, 2018 ]
Into The Macchina. "A Hole in Time"
Orquesta de Rumore rehearsals, Delia Records, Madrid. (February 17, 2018).
Mónica Blanco, Jay Chaitanya Das, Diego J. Montana, Andrews Wax.
Video by Luis Lamadrid.
[March 14, 2018 ]
Into The Macchina. "A Hole in Time"
Orquesta de Rumore rehearsals, Delia Records, Madrid. (February 06, 2018).
Mónica Blanco, Jay Chaitanya Das, Diego J. Montana, Andrews Wax.
Video by Luis Lamadrid.
[March 05, 2018 ]
On "Fluctuations" by Daniel Canogar
Efímeras Video Workshop, 2018, ETSAM, Madrid. (February, 2018).
Students: Johanny Takayama, John W. López, Daniela León, Irene García, María Abellán, Rosa Moreno, Andrea García, Andrea Ortega, Lorena Rubiano, Cristina Antón.
Teacher: Luis Lamadrid.
[ February 22, 2018 ]
Quinta del Duque del Arco
Quinta del Duque del Arco, Luis Lamadrid. El Pardo, Madrid. (December, 2018).
Landcape.
Music: "Arpegios Bell 0 Bell 1" by Juan Antonio Lleó and Llorenç Barber.
Camera: Utray and Lamadrid.
[ January 16, 2018 ]
Fluctuations: the evolution of the species
Fluctuations, Daniel Canogar. Sala Alcalá 31, Madrid. (November 29, 2017-January 28,2018).
Contemporary art in terms of the evolution of the human species. Daniel Canogar offers us a prospective and symbolic vision of the evolution of our species in the context of the biotechnological universe in which we live.
The enormous dimension and speed of the data flow of this universe overflows our perceptual capacities: an art properly located at the center of contemporary culture must offer us a prospective and symbolic vision that allows us to adapt to the complex flow of emotional and cognitive data that our environment.
Suggestive context in wich the work of Daniel Canogar and his exhibition "Fluctuations" is displayed. You can not miss it, the best of the year.
[ January 2, 2018 ]
Art-Enviroment
Luis Lamadrid.
Art is a prospective way of relating to the environment that involves a process of constant resymbolization.
Environment is a set of partially overlapping asynchronic events in which human life unfolds.
[ December 26, 2017 ]
Addicts memories
Tremblement de Terre très doux sous mes pieds. 2017. Andrews Wax & Luis Lamadrid.
Without memories the world would cease to exist
"Quantum physics needs a phantasmagoric action at a distance", Einstein.
There exists in the substance a Collective Consciousness that illuminates & drills Out miseries and also our greatest achievements. At any moment a transcendent quantum discovery will Shake Out perception of Reality. A Great Collision between Mind & Spirit. Between Mater & pure Eenergy (Andrews Wax, Into The Machina Project)
[ December 13, 2017 ]
Creative Anxiety: "Into The Machina"
Into The Machina. July 7, 2017. By Andrews Wax, with Jay Tardido, Diego Montana, J. Charles Stone (Orquesta Rumore)
Fascinating experience immersing in the multidimensional sound space of "Into The Machina". Listening is split into different events, slightly asynchronous. A little anxiety, mild but constant, triggers our perception. Sound enviroment with a multitude of nuances, a little disengaged, without losing the unit: in the limit, in the flight. Ectoplasm in which opposing elements are harmonized: what is proper and what is alien, the spiritual and the matter, assonances and dissonances, harmonies and interferences, symbolic and diabolic landscapes, original and copy, loyalty and betrayal, the war, the calm, the effort, the ease, the oppression, East and West, Ghandi, Steve Reich, Françoise Bayle ... The sound as origin: "We are noise" and we know that after our hearing the sound persists.
[ October 27, 2017 ]
Utopia: nowhere to go
NINGÚN LUGAR (La Orquestina de Pigmeos, 2017). Naves del Matadero.
September, 21, 2017.
How different it is to see a performance in a big theater hall, in a small theatre space or anywhere. NINGÚN LUGAR (Nowhere) premiered in the Nave 11, in the Naves of El Matadero of Madrid. A modern, impressive, grandiose space: the great municipal theater.
A group of Romanian women smoke and chat around the table. Little by little they are placing objects on the stage. It is garbage and scrap, but spread over the elegant space of El Matadero are singular objects carefully arranged on the floor. Loose phrases from the Jonas Mekas diaries projected onto a screen give poetic inspiration to the event. A giant vertical projection with images of the daily life of women speaks of poverty, of accumulation of people and things in the small space of their houses –not to do with the elegant and artistic theater– but also of community, of vitality, of a simple, shared, anti-bourgeois way of life.
On the stage they talks, smokes, sings, cooks, eats, the life goes on. The vital energy is transmitted and at the same time the artistic symbolism encompasses everything, we enjoy its aesthetics. Everything develops with surprising facility. Watching one of the women handle the camera on their mobile phone taking details of the action which is projected live on the giant screen is fascinating, what sensitivity, How well she does!
At the same time, a Colombian musician (Julian Mayorga) talks about music, life and many other things, while improvising an original electro-cumbia-noise.
The aesthetic emotion reaches its climax when the bottom of the stage is opened to the street and a van appears through a curtain of snow effect. Here the general plan, action as an art form, is revealed: Romanian women bring scrap on the symbolic space of a public theater, spread it on the stage, sing, talk about their immigration problems, life overflows art; then, after the meal, they prepare and eat on the scene, load the van and disappear leaving the stage as empty as they found it at first. The scattered objects thus return to be junk and the women come back to their real lives.
After leaving the space, applause burst. They greet. We bring back the artists with our applause. Part of the audience leaves the room and the women return with some instruments: contrabass, violin, a kind of zither and guitar. We all hope to finish listening to the music, then the cliché is active: they are Romanians, they certainly know how to play very well, like street musicians, cheerful, funny, full of energy. But no, something happens, the unexpected happens: they barely know how to hold the instruments, they beat them clumsily, they sing with all their soul, with tears, but they do not know how to play. The reality of their precarious life situation arises. They are not artists, they are migrant women without instruction, socially very vulnerable. Human frailty comes on the scene, applause ceases. They finish the song, and the applause comes again, but a little more sad.
[ September 26, 2017 ]
Paradoxical spell to ward off the darkness
A Spell To Ward Off The Darkness (Ben Rivers y Ben Russell, 2013). Estonia. 98'.
The creative achievement of A Spell To Ward Off The Darkness lies in the combination of three episodes without a narrative link —the Estonian commune, the Finnish forest hermit (Robert AA Lowe, Lichens) and the concert of black metal (The band Queequege) in Norway— and a false title: the spell does not achieve the purpose of removing the darkness.
In all the episodes appears the sound artist Robert AA Lowe, unique bond between the different parts of the film. In all of them, except in the scene of the commune of Estonia, he is the protagonist role.
Actually, the film consists of four parts. The first, the dark and slow circular panorama taken from the center of the lake during the night. It is, definitely, presentation of the darkness to which the title alludes. It is fascinating how the sound follow the three turns of the camera: from the water to the nocturnal sound and from it —sound over the same landscape, with the horizon in the center of the picture separating two equal images, the sky and its reflection on the waters of the lake— to the fire, wich will give way to the second segment: the estonian commune.
The episode of the commune begins with the fire that gives light and heat. The social community, natural life, children, light, joy and ... here comes the first conflict: in a conversation, the divergence between the individual will and the demands of the community arises. At one point, the inverted spell arises, it does not award off the darkness but causes it. I mean the crazy anecdote that a young man from the commune tell his partner: during a party, with friends, in the sauna, a strange circle is formed spontaneously in which each partner has his finger in the other's ass. This funny and disturbing story, which evokes the imagery of Hieronymus Bosch, gives way to the new sequence of the film, that of the hermit in a forest of Finland.
The third episode shows solitude of the hermit surrounded by a barren nature, as opposed to the fertile nature of the commune scene. At the end of this part, the hermit provokes the disturbing fire of the hut, which seems to be fueled by a useless fire: the house does not collapse despite the duration of the shot. A fire burns in the dark and burns without end. Hellfire that does not purify, does not repel the darkness, as the title of the film promises, and that is projected on the satanic performance of the black metal band.
The powerful sequence of the Queequege performance, a sequence shot, with the camera close to the musicians and the audience. Some glances and litle gestures of the audience reveil the presence of the camera and make that the rite becomes spectacle. The protagonist, at the end of the show, the same sequence shot, cleans the face makeup, go outside, and return to the starting point: darkness.
The density of the film seduces us, the darkness catches us, the liberating spell is celebration of the dark, of the circle of humans connected by the anus, of the dark magma of the real, the essence of the art of River and Russell in this film.
[ August 10, 2017 ]
The silence of the wise and the fool is the same silence
Anyone has a huge creative potential, you just need to focus on dreams: the dreams of an artist are not of better quality than anyone's.
Video, more than cinema, by its immediacy, allows us to activate the creative process of dreams while we are awake.
Last May 1, in the demonstration of my neighborhood, I recorded with the camera the parades. Everyone knew each other and greeted each other, each group had their choreographies and proclamations well rehearsed, the revindicating energy was very intense and joyful at the same time. These images are part of my next video Reactive, still in process.
[ August 3, 2017 ]