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Hecatombe 2008

by various artists

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1.
hecatombe a 12:25
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2.
hecatombe b 15:44
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about

In the beginning of the 20thcentury, both Futurist and the Dada decided to attack the status quo ,raising questions about Art that served as the basis of an artistic liberation that endured, even if residually, until today. Today the artistic liberties claimed by the Futurist and Dada are compromised, and even more serious, they are often compromised by the artists themselves. The whole system of creation, production, presentation and consumption presents itself like a more or less well oiled machine, in which the margin for freedom of expression becomes limited. Artists fabricate, maintain and depend on comfort conjectures, getting used to work with more tools than the strictly necessary, undermining their own improvisation ability. Same with dj's that without their turntables and cd players as well as their beat counting mixing tables, see their potential constrained. - The spaces used in presenting/promoting events are, usually, conditioned, that is a given fact. A concert room will invariably have a stage and an audience area, while at a bar/disco the zone reserved to the entertainer is placed at a pre-defined compartment. The audience becomes a constraint to the performance in the way that their expectations will form the final result. Hecatombe comes as a reflexion on the status quo. As a question or as a waypoint more than as an answer. An invitation was made to some musicians, some dj's and to some dilletantes to participate in a 5 hour event where each one would contribute with audio or video, creating sounds and sonorities in real time, manipulating each other’s sound, adding music, samples and loops from other artists as well, creating a constant sound wall. Spontaneity was one of the premises for this event, no previous dialog being made about what would be presented besides the strictly necessary for the logistics planning. This absence created the basis for a genuinely spontaneous improv collaboration between the participants, some of which were meeting for the first time during the event. Being set in a building, and having several rooms available, participants were given the possibility to choose the place where they would perform. This was made to break the narrative relationship public/artist giving the opportunity to visitors to interact, as they pleased, with the space as well as with the performers. This spacial flexibilization created two distinct areas that were connected by a symbolic umbilical cord, uniting two mixing tables in order to reintegrate the sound that was being made in one room in the total outcome, that was being channeled to some speakers and to a FM transmitter transmitted the event through radio waves. Most of what was used in the event was owned by the performers or lent to the event. Thus, and having little more than a mixer, 3computers, a couple of sound processors, a turntable, a MP3 player, two projectors, some microphones and audio cables made on the spot and on the moment, connected to a amplificator and speakers that existed in the building, Hecatombe was wrought succeeding in giving the sound platform for the fulfillment of each personal vision. The possibility of zero budget and revitalizing the "DIY" spirit were part of Hecatombe's intention as a way of shattering the mythos on what is effectively necessary in order to make an event. If the Dada made incursions into anti-Art and by doing so expanded the limits in Art Theory, let our pro-Art attack to the arts expand the limits of the artists effective creative liberty. (rodolfo oliveira)

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released June 21, 2008

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arcano.zero / absoluto.zero image

arcano.zero / absoluto.zero Costa Da Caparica, Portugal

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