SOUND FLOATING LANDSCAPES – julianaherrero.org https://www.julianaherrero.org Sat, 31 Jan 2026 11:57:32 +0000 de hourly 1 https://wordpress.org/?v=6.9.4 Savannah, Steppa https://www.julianaherrero.org/works/savannah-steppa/ https://www.julianaherrero.org/works/savannah-steppa/#respond Sun, 28 Jan 2024 19:12:05 +0000 http://www.julianaherrero.org/?post_type=nor-portfolio&p=1438

[vc_row][vc_column width="1/3"][vc_single_image image="2176" img_size="full"][/vc_column][vc_column width="1/3"][/vc_column][vc_column width="1/3"][/vc_column][/vc_row][vc_row][vc_column width="1/3"][vc_column_text]SABANNA, STEPPA 2021 Sound Installation Steel cable, embroidery flower, mini speakers, sound in loop; variable size (about 140cm x 30cm x 200cm)

This [daughter and sister] sound floating landscape of my larger and equivalents waving performatives, evolves from articulated equilateral triangles, reminiscent of Leibniz's [monad], a unity principle infusing the landscape with a unique cadence. It incorporates audio layers featuring raw elements like the sound of wind and concrete poetry narrating the dreams of wild horses, territories of panthers, and pumas. This piece is part of the [Imaginarium] of all what exists, representing an authentic product of the imagination, and also [one of a kind].

Always unique, never a clone, emits sound drawn from the wild territories of the African Savannah [and] Patagonian Steppa, it explores different latitudes on the same planet. A captivating blend of guitar harmonics, improvisation chords, natural, and electronic voices forms the tonal landscape, juxtaposing nature and artifice with its light tactile corpus and electronic cables.

[El mundo de la filosofía no muere en las palabras que se lleva el viento, renace tambien en el retoño de su red matriz] ☺️[/vc_column_text][/vc_column][vc_column width="1/3"][vc_column_text]Related to TUNDRA 2019 Finalist Premio Fundación Itaú 2019 Exhibition Kunst vor dem Markt, das weisse haus, Vienna. In context of the “ViennaArtWeek”[/vc_column_text][vc_single_image image="1439" img_size="full"][vc_single_image image="2130" img_size="full"][vc_single_image image="1819" img_size="full"][vc_column_text]Interventions in context of Blue Planet, Open Studio Days of the 20 District Rundgang[/vc_column_text][/vc_column][vc_column width="1/3"][/vc_column][/vc_row]]]>

[vc_row][vc_column width="1/3"][vc_single_image image="2176" img_size="full"][/vc_column][vc_column width="1/3"][/vc_column][vc_column width="1/3"][/vc_column][/vc_row][vc_row][vc_column width="1/3"][vc_column_text]SABANNA, STEPPA 2021 Sound Installation Steel cable, embroidery flower, mini speakers, sound in loop; variable size (about 140cm x 30cm x 200cm)

This [daughter and sister] sound floating landscape of my larger and equivalents waving performatives, evolves from articulated equilateral triangles, reminiscent of Leibniz's [monad], a unity principle infusing the landscape with a unique cadence. It incorporates audio layers featuring raw elements like the sound of wind and concrete poetry narrating the dreams of wild horses, territories of panthers, and pumas. This piece is part of the [Imaginarium] of all what exists, representing an authentic product of the imagination, and also [one of a kind].

Always unique, never a clone, emits sound drawn from the wild territories of the African Savannah [and] Patagonian Steppa, it explores different latitudes on the same planet. A captivating blend of guitar harmonics, improvisation chords, natural, and electronic voices forms the tonal landscape, juxtaposing nature and artifice with its light tactile corpus and electronic cables.

[El mundo de la filosofía no muere en las palabras que se lleva el viento, renace tambien en el retoño de su red matriz] ☺️[/vc_column_text][/vc_column][vc_column width="1/3"][vc_column_text]Related to TUNDRA 2019 Finalist Premio Fundación Itaú 2019 Exhibition Kunst vor dem Markt, das weisse haus, Vienna. In context of the “ViennaArtWeek”[/vc_column_text][vc_single_image image="1439" img_size="full"][vc_single_image image="2130" img_size="full"][vc_single_image image="1819" img_size="full"][vc_column_text]Interventions in context of Blue Planet, Open Studio Days of the 20 District Rundgang[/vc_column_text][/vc_column][vc_column width="1/3"][/vc_column][/vc_row]]]> https://www.julianaherrero.org/works/savannah-steppa/feed/ 0 The room as a score * based on „From One Crystallon to the Pampia“ https://www.julianaherrero.org/works/the-room-as-a-score-based-on-from-one-crystallon-to-the-pampia/ https://www.julianaherrero.org/works/the-room-as-a-score-based-on-from-one-crystallon-to-the-pampia/#respond Mon, 18 Apr 2022 18:30:04 +0000 http://www.julianaherrero.org/?post_type=nor-portfolio&p=953 SoundArtAndNotation_JulianaHerrero_PhotoByJuliaCremers

[vc_row][vc_column width="1/3"][vc_single_image image="929" img_size="full"][/vc_column][vc_column width="1/3"][/vc_column][vc_column width="1/3"][/vc_column][/vc_row][vc_row][vc_column width="3/5"][vc_column_text css=""]The room as a score * based on "From One Crystallon to the Pampia" 2022
Installation Exhibited at Klangkunst und Notation, Errant Sound Gallery, Berlin
Suspended installation above a reflective board featuring a tonal layer;
steel cable, small stones, thread, micro speakers, drawing printed on acrylic glass, bronze sheets, brass rods, carbon sticks Sound loop: composed of metallic sounds derived from the weaving of wire nets, various field recordings, digitally sourced meta-scapes, and archival audio materials
Approximate size: 200 × 140 × 350 cm  
This artificial, floating landscape embodies an abstract, crystalline sound aesthetic — born from moment-to-moment recordings made during the weaving of a wire net carpet. From this foundational “carpet sound,” the acoustic qualities of the materials are layered with new sonic sequences: digitally found textures, archival fragments, and field recordings form an audible mesh of speculative, hybrid geographies.
Linear drawings on acrylic act as a score — marked with imagined coordinates and shifting place-markers. These lines don’t reflect geographic precision, but rather a sculptural mapping of time and gesture: a dislocated, intuitive terrain traced through the repeated building of the work in air. Over this "unreal ground," small bronze sheets, brass rods in diminishing sizes, and carbon sticks create a loose topography. Fragile stones rest across the surface, anchoring attention — as if trying to mark a here-and-now. A baby- blue square, about 10 × 10 cm, marks the cero-cero of this imagined system: a symbolic zero point from which to begin reading, listening, or navigating. Each material points to sonic references: carbon for the street, brass for brightness — a looping system where ethereal sounds and layered voices build quiet, contrapuntal echoes within the piece.
The work’s transitory nature is shaped by the interaction between sound, material, space, and the audience’s presence. Its conceptual lineage includes earlier sound-landscapes, such as From One Crystallon to the Pampia, evoking a mythic geology: once, Pangea floated as a unified plate; after the break, Pampia — the ancient land beneath La Pampa, Argentina — was born.
Where these ephemeral crystallizations occur, a dynamic tension unfolds between virtuality and physical reality, bridging cultures, languages, and disciplines — proposing new, fluid models for artistic and sonic production. The "partiture" eventually unfolds as displaced fragments laid flat — opening itself to site-specific interpretations or improvisations. The work concludes with the performance Undo, during which it is gently dismantled, leaving only its elemental traces scattered on the floor.  
Klangkunst und Notation[/vc_column_text][vc_gallery interval="3" images="928,930,927" img_size="full"][vc_column_text]Photos © Julia Cremmers[/vc_column_text][vc_video link="https://www.youtube.com/watch?v=JB4ziT2aAyY&t=14s"][vc_video link="https://www.youtube.com/watch?v=dZopgWUZeM8&t=290s"][vc_video link="https://www.youtube.com/watch?v=KZueGaba_bw"][/vc_column][vc_column width="2/5"][vc_column_text]In context of the exhibition KLANGKUNST UND NOTATION with works by Eunice Artur (Lissabon), Juliana Herrero (Wien), Jutta Ravenna (Berlin) and Salomé Voegelin (Berlin) Exhibition with Notations, Sound installation, Performance, Blog und Discourse in the Errant Sound Gallery (curated by Jutta Ravenna) Work Genesis: (2017) From One Crystallon To The Pampia, REM, Bildraum 01 (2017) Performing Undo REM, Bildraum 01 -- Press & Media errant sound arteinformado CRisAP Field-notes[/vc_column_text][vc_empty_space height="200px"][/vc_column][/vc_row]]]> SoundArtAndNotation_JulianaHerrero_PhotoByJuliaCremers

[vc_row][vc_column width="1/3"][vc_single_image image="929" img_size="full"][/vc_column][vc_column width="1/3"][/vc_column][vc_column width="1/3"][/vc_column][/vc_row][vc_row][vc_column width="3/5"][vc_column_text css=""]The room as a score * based on "From One Crystallon to the Pampia" 2022
Installation Exhibited at Klangkunst und Notation, Errant Sound Gallery, Berlin
Suspended installation above a reflective board featuring a tonal layer;
steel cable, small stones, thread, micro speakers, drawing printed on acrylic glass, bronze sheets, brass rods, carbon sticks Sound loop: composed of metallic sounds derived from the weaving of wire nets, various field recordings, digitally sourced meta-scapes, and archival audio materials
Approximate size: 200 × 140 × 350 cm  
This artificial, floating landscape embodies an abstract, crystalline sound aesthetic — born from moment-to-moment recordings made during the weaving of a wire net carpet. From this foundational “carpet sound,” the acoustic qualities of the materials are layered with new sonic sequences: digitally found textures, archival fragments, and field recordings form an audible mesh of speculative, hybrid geographies.
Linear drawings on acrylic act as a score — marked with imagined coordinates and shifting place-markers. These lines don’t reflect geographic precision, but rather a sculptural mapping of time and gesture: a dislocated, intuitive terrain traced through the repeated building of the work in air. Over this "unreal ground," small bronze sheets, brass rods in diminishing sizes, and carbon sticks create a loose topography. Fragile stones rest across the surface, anchoring attention — as if trying to mark a here-and-now. A baby- blue square, about 10 × 10 cm, marks the cero-cero of this imagined system: a symbolic zero point from which to begin reading, listening, or navigating. Each material points to sonic references: carbon for the street, brass for brightness — a looping system where ethereal sounds and layered voices build quiet, contrapuntal echoes within the piece.
The work’s transitory nature is shaped by the interaction between sound, material, space, and the audience’s presence. Its conceptual lineage includes earlier sound-landscapes, such as From One Crystallon to the Pampia, evoking a mythic geology: once, Pangea floated as a unified plate; after the break, Pampia — the ancient land beneath La Pampa, Argentina — was born.
Where these ephemeral crystallizations occur, a dynamic tension unfolds between virtuality and physical reality, bridging cultures, languages, and disciplines — proposing new, fluid models for artistic and sonic production. The "partiture" eventually unfolds as displaced fragments laid flat — opening itself to site-specific interpretations or improvisations. The work concludes with the performance Undo, during which it is gently dismantled, leaving only its elemental traces scattered on the floor.  
Klangkunst und Notation[/vc_column_text][vc_gallery interval="3" images="928,930,927" img_size="full"][vc_column_text]Photos © Julia Cremmers[/vc_column_text][vc_video link="https://www.youtube.com/watch?v=JB4ziT2aAyY&t=14s"][vc_video link="https://www.youtube.com/watch?v=dZopgWUZeM8&t=290s"][vc_video link="https://www.youtube.com/watch?v=KZueGaba_bw"][/vc_column][vc_column width="2/5"][vc_column_text]In context of the exhibition KLANGKUNST UND NOTATION with works by Eunice Artur (Lissabon), Juliana Herrero (Wien), Jutta Ravenna (Berlin) and Salomé Voegelin (Berlin) Exhibition with Notations, Sound installation, Performance, Blog und Discourse in the Errant Sound Gallery (curated by Jutta Ravenna) Work Genesis: (2017) From One Crystallon To The Pampia, REM, Bildraum 01 (2017) Performing Undo REM, Bildraum 01 -- Press & Media errant sound arteinformado CRisAP Field-notes[/vc_column_text][vc_empty_space height="200px"][/vc_column][/vc_row]]]> https://www.julianaherrero.org/works/the-room-as-a-score-based-on-from-one-crystallon-to-the-pampia/feed/ 0 écoutez https://www.julianaherrero.org/works/ecoutez/ https://www.julianaherrero.org/works/ecoutez/#respond Fri, 17 Sep 2021 00:51:53 +0000 http://baustelle.julianaherrero.org/?post_type=nor-portfolio&p=792

[vc_row][vc_column width="3/5"][vc_images_carousel images="793" img_size="full"][/vc_column][vc_column width="2/5"][/vc_column][/vc_row][vc_row][vc_column width="3/5"][vc_column_text]NOMADENTUM 2018 Steel cable, mini speakers, no sound; variable size (about 20cm x 15cm x 15cm)[/vc_column_text][/vc_column][vc_column width="2/5"][/vc_column][/vc_row]]]>

[vc_row][vc_column width="3/5"][vc_images_carousel images="793" img_size="full"][/vc_column][vc_column width="2/5"][/vc_column][/vc_row][vc_row][vc_column width="3/5"][vc_column_text]NOMADENTUM 2018 Steel cable, mini speakers, no sound; variable size (about 20cm x 15cm x 15cm)[/vc_column_text][/vc_column][vc_column width="2/5"][/vc_column][/vc_row]]]> https://www.julianaherrero.org/works/ecoutez/feed/ 0 CRYSTALLONS -pre musical https://www.julianaherrero.org/works/crystallons-pre-musical/ https://www.julianaherrero.org/works/crystallons-pre-musical/#respond Thu, 16 Sep 2021 21:34:51 +0000 http://baustelle.julianaherrero.org/?post_type=nor-portfolio&p=737

[vc_row][vc_column width="3/5"][vc_row_inner][vc_column_inner width="1/2"][vc_single_image image="738"][/vc_column_inner][vc_column_inner width="1/2"][/vc_column_inner][/vc_row_inner][/vc_column][vc_column width="2/5"][/vc_column][/vc_row][vc_row][vc_column width="3/5"][vc_column_text]CRYSTALLONS -pre musical 2013 spatial installation – pre-musical; steel cable, led lights Size (about 200cm x 250cm x 240cm) ​ The work embodies as corpus two matrices that constitute the very first work belonging to the series of Sound Floating Landscapes, which was mute at first. The procedural work depicts figments of the imagination drawn on space. It sets up articulated points in an endless “Combinatoria” and it is meant to be transformed. Its geometry has a periodic origin and the work is accompanied by a text that evokes a science-fictional connotation. ​ The word “crystallon” derives from the Greek, cold drop, frozen drop, with its meaning extending to all solids with some degree of transparency. Before the development of X-ray diffraction, crystallography, the study of crystals, was based on their geometry. The crystallography of X-ray is an experimental technique for the study and analysis of materials based on the phenomena of diffraction of the x- rays by solids in crystalline state. Though to this technic specific atoms positions can be measured. https://en.wikipedia.org/wiki/Crystallography[/vc_column_text][/vc_column][vc_column width="2/5"][vc_column_text]2013 Kaleidoskop, Latinamerican - Institute Vienna Other Sets:  2013, Open studio day, Studio das weisse haus, Vienna 2014 INVASION, Buenos Aires-Berlin, Kotti-Shop, Berlin[/vc_column_text][/vc_column][/vc_row]]]>

[vc_row][vc_column width="3/5"][vc_row_inner][vc_column_inner width="1/2"][vc_single_image image="738"][/vc_column_inner][vc_column_inner width="1/2"][/vc_column_inner][/vc_row_inner][/vc_column][vc_column width="2/5"][/vc_column][/vc_row][vc_row][vc_column width="3/5"][vc_column_text]CRYSTALLONS -pre musical 2013 spatial installation – pre-musical; steel cable, led lights Size (about 200cm x 250cm x 240cm) ​ The work embodies as corpus two matrices that constitute the very first work belonging to the series of Sound Floating Landscapes, which was mute at first. The procedural work depicts figments of the imagination drawn on space. It sets up articulated points in an endless “Combinatoria” and it is meant to be transformed. Its geometry has a periodic origin and the work is accompanied by a text that evokes a science-fictional connotation. ​ The word “crystallon” derives from the Greek, cold drop, frozen drop, with its meaning extending to all solids with some degree of transparency. Before the development of X-ray diffraction, crystallography, the study of crystals, was based on their geometry. The crystallography of X-ray is an experimental technique for the study and analysis of materials based on the phenomena of diffraction of the x- rays by solids in crystalline state. Though to this technic specific atoms positions can be measured. https://en.wikipedia.org/wiki/Crystallography[/vc_column_text][/vc_column][vc_column width="2/5"][vc_column_text]2013 Kaleidoskop, Latinamerican - Institute Vienna Other Sets:  2013, Open studio day, Studio das weisse haus, Vienna 2014 INVASION, Buenos Aires-Berlin, Kotti-Shop, Berlin[/vc_column_text][/vc_column][/vc_row]]]> https://www.julianaherrero.org/works/crystallons-pre-musical/feed/ 0 CRYSTALLONS https://www.julianaherrero.org/works/%e2%80%8binterferences-utopia-in-transit-2/ https://www.julianaherrero.org/works/%e2%80%8binterferences-utopia-in-transit-2/#respond Thu, 16 Sep 2021 21:21:36 +0000 http://baustelle.julianaherrero.org/?post_type=nor-portfolio&p=734

[vc_row][vc_column width="3/5"][vc_images_carousel images="735" img_size="full"][vc_row_inner][vc_column_inner width="1/2"][/vc_column_inner][vc_column_inner width="1/2"][/vc_column_inner][/vc_row_inner][/vc_column][vc_column width="2/5"][/vc_column][/vc_row][vc_row][vc_column width="3/5"][vc_column_text]CRYSTALLONS 2013-2014 spatial installation; steel cable, projection, audience - participation Size (about 200cm x 250cm x 240cm) ​ The work embodies as corpus the matrixes that made up the very first work belonging to the series of Sound Floating Landscapes - Crystallons 2013, which was mute at first. The piece incorporates the viewer as part of the installation. ​ In its setting in context of INVASION Buenos Aires-Berlin 2014 the work emerges as playground of light and shadows broadcasting the nets and the audience[/vc_column_text][/vc_column][vc_column width="2/5"][vc_column_text]

2014 INVASION, Buenos Aires-Berlin, Kotti-Shop, Berlin

[/vc_column_text][/vc_column][/vc_row]]]>

[vc_row][vc_column width="3/5"][vc_images_carousel images="735" img_size="full"][vc_row_inner][vc_column_inner width="1/2"][/vc_column_inner][vc_column_inner width="1/2"][/vc_column_inner][/vc_row_inner][/vc_column][vc_column width="2/5"][/vc_column][/vc_row][vc_row][vc_column width="3/5"][vc_column_text]CRYSTALLONS 2013-2014 spatial installation; steel cable, projection, audience - participation Size (about 200cm x 250cm x 240cm) ​ The work embodies as corpus the matrixes that made up the very first work belonging to the series of Sound Floating Landscapes - Crystallons 2013, which was mute at first. The piece incorporates the viewer as part of the installation. ​ In its setting in context of INVASION Buenos Aires-Berlin 2014 the work emerges as playground of light and shadows broadcasting the nets and the audience[/vc_column_text][/vc_column][vc_column width="2/5"][vc_column_text]

2014 INVASION, Buenos Aires-Berlin, Kotti-Shop, Berlin

[/vc_column_text][/vc_column][/vc_row]]]> https://www.julianaherrero.org/works/%e2%80%8binterferences-utopia-in-transit-2/feed/ 0 Nomadentum https://www.julianaherrero.org/works/nomadentum/ https://www.julianaherrero.org/works/nomadentum/#respond Tue, 07 Sep 2021 16:50:31 +0000 http://baustelle.julianaherrero.org/?post_type=nor-portfolio&p=331

[vc_row][vc_column width="3/5"][vc_images_carousel images="356" img_size="full"][/vc_column][vc_column width="2/5"][/vc_column][/vc_row][vc_row][vc_column width="3/5"][vc_column_text]NOMADENTUM 2015 Mixed media installation with sound Steel cable, electric cable in various colours, mini speakers, stereo sound loop; variable size (about 190cm x 300cm x 240cm) Exhibition views © Kunstraum SUPER Nomadentum emerges as a spatial installation that echoes on the architecture of distant spaces connecting fragments as autobiographical traces in a staccato composition, visually and acoustically weaved. The unity in the form of a tent relates to an archetype construction, to a first enclosure model for inhabitation with no specific geographical borders in a broader sense, but intimately related to places of emotional connotations. Therefore, for the installation 16 tents are set up, each for a specific inhabited space. The sound that rhythmically spreads around features a machine voice that reads the coordinates and official reports from online Wikipedia. In contrast, a human voice in whispered tone lets us perceive personal depictions of the spaces or how they are remembered between the words. Those are translated into time capsule recordings: an attempt to unfold connective and disconnective elements in the realm of transience.[/vc_column_text][vc_single_image image="1908" img_size="full" css=""][/vc_column][vc_column width="2/5"][vc_column_text](2016) Exhibition TENTOONE, Kunstraum SUPER in context of the ViennaArtWeek 2016[/vc_column_text][vc_single_image image="357" img_size="full"][vc_single_image image="1864" img_size="full"][vc_single_image image="1863" img_size="full"][vc_single_image image="2244" img_size="full" css=""][vc_row_inner][vc_column_inner width="1/2"][vc_single_image image="2247" img_size="full" css=""][/vc_column_inner][vc_column_inner width="1/2"][vc_single_image image="2246" img_size="full" css=""][/vc_column_inner][/vc_row_inner][vc_single_image image="2248" img_size="full" css=""][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]]]>

[vc_row][vc_column width="3/5"][vc_images_carousel images="356" img_size="full"][/vc_column][vc_column width="2/5"][/vc_column][/vc_row][vc_row][vc_column width="3/5"][vc_column_text]NOMADENTUM 2015 Mixed media installation with sound Steel cable, electric cable in various colours, mini speakers, stereo sound loop; variable size (about 190cm x 300cm x 240cm) Exhibition views © Kunstraum SUPER Nomadentum emerges as a spatial installation that echoes on the architecture of distant spaces connecting fragments as autobiographical traces in a staccato composition, visually and acoustically weaved. The unity in the form of a tent relates to an archetype construction, to a first enclosure model for inhabitation with no specific geographical borders in a broader sense, but intimately related to places of emotional connotations. Therefore, for the installation 16 tents are set up, each for a specific inhabited space. The sound that rhythmically spreads around features a machine voice that reads the coordinates and official reports from online Wikipedia. In contrast, a human voice in whispered tone lets us perceive personal depictions of the spaces or how they are remembered between the words. Those are translated into time capsule recordings: an attempt to unfold connective and disconnective elements in the realm of transience.[/vc_column_text][vc_single_image image="1908" img_size="full" css=""][/vc_column][vc_column width="2/5"][vc_column_text](2016) Exhibition TENTOONE, Kunstraum SUPER in context of the ViennaArtWeek 2016[/vc_column_text][vc_single_image image="357" img_size="full"][vc_single_image image="1864" img_size="full"][vc_single_image image="1863" img_size="full"][vc_single_image image="2244" img_size="full" css=""][vc_row_inner][vc_column_inner width="1/2"][vc_single_image image="2247" img_size="full" css=""][/vc_column_inner][vc_column_inner width="1/2"][vc_single_image image="2246" img_size="full" css=""][/vc_column_inner][/vc_row_inner][vc_single_image image="2248" img_size="full" css=""][/vc_column][/vc_row][vc_row][vc_column][/vc_column][/vc_row]]]> https://www.julianaherrero.org/works/nomadentum/feed/ 0 Mesetas que se enraizan en el cielo https://www.julianaherrero.org/works/329/ https://www.julianaherrero.org/works/329/#respond Tue, 07 Sep 2021 16:38:19 +0000 http://baustelle.julianaherrero.org/?post_type=nor-portfolio&p=329

[vc_row][vc_column width="3/5"][vc_single_image image="330" img_size="full"][/vc_column][vc_column width="2/5"][/vc_column][/vc_row][vc_row][vc_column width="3/5"][vc_column_text]Mesetas que se enraizan en el cielo 2015 Sound installation; steecable, mini speakers, sound collage in loop Sound collage: voice piece (phantasy names of cities phonetic composition), NASA sound recordings of earth from the outer space (pop media internet)[/vc_column_text][/vc_column][vc_column width="2/5"][/vc_column][/vc_row]]]>

[vc_row][vc_column width="3/5"][vc_single_image image="330" img_size="full"][/vc_column][vc_column width="2/5"][/vc_column][/vc_row][vc_row][vc_column width="3/5"][vc_column_text]Mesetas que se enraizan en el cielo 2015 Sound installation; steecable, mini speakers, sound collage in loop Sound collage: voice piece (phantasy names of cities phonetic composition), NASA sound recordings of earth from the outer space (pop media internet)[/vc_column_text][/vc_column][vc_column width="2/5"][/vc_column][/vc_row]]]> https://www.julianaherrero.org/works/329/feed/ 0 One Crystalline Installation https://www.julianaherrero.org/works/one-crystalline-installation/ https://www.julianaherrero.org/works/one-crystalline-installation/#respond Tue, 07 Sep 2021 06:27:26 +0000 http://baustelle.julianaherrero.org/?post_type=nor-portfolio&p=319

[vc_row][vc_column width="3/5"][vc_images_carousel images="320,321,398" img_size="full"][/vc_column][vc_column width="2/5"][/vc_column][/vc_row][vc_row][vc_column width="3/5"][vc_column_text]One Crystalline Installation 2013 spatial installation; steel cable, little stones, labels, chalk marks, recording process, participation Size (about 200cm x 150cm x 240cm) Vienna Art Week, studio das weisse haus 2013 ​ The procedural work depicts figments of the imagination drawn on space. It sets up articulated points in an endless “Combinatoria” and it is meant to be transformed. Its geometry has a periodic origin and the work is accompanied by a text that evokes a science-fictional connotation. The reconstruction at the studio in context of the Vienna Art Week is a stage of the work Crystallons unfolding one matrix, which emphasizes a kind of measuring machinery and its absurdity making evident a configuration of stabilizer points by means of little stones and small labels. ​ The word “crystallon” derives from the Greek, cold drop, frozen drop, with its meaning extending to all solids with some degree of transparency. Before the development of X-ray diffraction, crystallography, the study of crystals, was based on their geometry. The crystallography of X-ray is an experimental technique for the study and analysis of materials based on the phenomena of diffraction of the x- rays by solids in crystalline state. Though to this technic specific atoms positions can be measured. https://en.wikipedia.org/wiki/Crystallography[/vc_column_text][/vc_column][vc_column width="2/5"][/vc_column][/vc_row]]]>

[vc_row][vc_column width="3/5"][vc_images_carousel images="320,321,398" img_size="full"][/vc_column][vc_column width="2/5"][/vc_column][/vc_row][vc_row][vc_column width="3/5"][vc_column_text]One Crystalline Installation 2013 spatial installation; steel cable, little stones, labels, chalk marks, recording process, participation Size (about 200cm x 150cm x 240cm) Vienna Art Week, studio das weisse haus 2013 ​ The procedural work depicts figments of the imagination drawn on space. It sets up articulated points in an endless “Combinatoria” and it is meant to be transformed. Its geometry has a periodic origin and the work is accompanied by a text that evokes a science-fictional connotation. The reconstruction at the studio in context of the Vienna Art Week is a stage of the work Crystallons unfolding one matrix, which emphasizes a kind of measuring machinery and its absurdity making evident a configuration of stabilizer points by means of little stones and small labels. ​ The word “crystallon” derives from the Greek, cold drop, frozen drop, with its meaning extending to all solids with some degree of transparency. Before the development of X-ray diffraction, crystallography, the study of crystals, was based on their geometry. The crystallography of X-ray is an experimental technique for the study and analysis of materials based on the phenomena of diffraction of the x- rays by solids in crystalline state. Though to this technic specific atoms positions can be measured. https://en.wikipedia.org/wiki/Crystallography[/vc_column_text][/vc_column][vc_column width="2/5"][/vc_column][/vc_row]]]> https://www.julianaherrero.org/works/one-crystalline-installation/feed/ 0 Tundra https://www.julianaherrero.org/works/302/ https://www.julianaherrero.org/works/302/#respond Sun, 05 Sep 2021 20:16:32 +0000 http://baustelle.julianaherrero.org/?post_type=nor-portfolio&p=302

[vc_row][vc_column width="3/5"][vc_images_carousel images="303,304" img_size="full"][/vc_column][vc_column width="2/5"][/vc_column][/vc_row][vc_row][vc_column width="3/5"][vc_column_text]TUNDRA 2019 Sound Installation Steel cable, mini speakers, sound in loop; variable size (about 140cm x 30cm x 200cm) Tundra is a sound floating landscape from the series „Sabana, Estepa, Tundra „that rises as a utopian fragment, a digital „matrix“ in its physical form -a sound installation of steel cable and mini speakers. It develops from articulated equilateral triangles evoking the infinity of the landscape. The audio stratifies found materials such as the sound of wind, as well as concrete poetry that alludes to the cold steppe (electronic voices) and guitar harmonics created by the artist. The work contrasts nature and artifice, its light tactile form and electronic cables. Approaching the concepts of post-humanism and anthropocene, it becomes at the same time a metaphor of the processes of change, capturing a specific moment of a floating landscape that potentially inscribes a multiplicity of them.[/vc_column_text][vc_video link="https://www.youtube.com/watch?v=CCoLDDZsRJA"][vc_video link="https://www.okto.tv/de/oktothek/episode/5df35273283b9"][/vc_column][vc_column width="2/5"][vc_column_text]2019 Finalist Premio Fundación Itaú 2019 Exhibition Kunst vor dem Markt, das weisse haus, Vienna. In context of the “ViennaArtWeek” [/vc_column_text][/vc_column][/vc_row]]]>

[vc_row][vc_column width="3/5"][vc_images_carousel images="303,304" img_size="full"][/vc_column][vc_column width="2/5"][/vc_column][/vc_row][vc_row][vc_column width="3/5"][vc_column_text]TUNDRA 2019 Sound Installation Steel cable, mini speakers, sound in loop; variable size (about 140cm x 30cm x 200cm) Tundra is a sound floating landscape from the series „Sabana, Estepa, Tundra „that rises as a utopian fragment, a digital „matrix“ in its physical form -a sound installation of steel cable and mini speakers. It develops from articulated equilateral triangles evoking the infinity of the landscape. The audio stratifies found materials such as the sound of wind, as well as concrete poetry that alludes to the cold steppe (electronic voices) and guitar harmonics created by the artist. The work contrasts nature and artifice, its light tactile form and electronic cables. Approaching the concepts of post-humanism and anthropocene, it becomes at the same time a metaphor of the processes of change, capturing a specific moment of a floating landscape that potentially inscribes a multiplicity of them.[/vc_column_text][vc_video link="https://www.youtube.com/watch?v=CCoLDDZsRJA"][vc_video link="https://www.okto.tv/de/oktothek/episode/5df35273283b9"][/vc_column][vc_column width="2/5"][vc_column_text]2019 Finalist Premio Fundación Itaú 2019 Exhibition Kunst vor dem Markt, das weisse haus, Vienna. In context of the “ViennaArtWeek” [/vc_column_text][/vc_column][/vc_row]]]> https://www.julianaherrero.org/works/302/feed/ 0 From One Crystallon To The Pampia https://www.julianaherrero.org/works/from-one-crystallon-to-the-pampia/ https://www.julianaherrero.org/works/from-one-crystallon-to-the-pampia/#respond Sat, 15 May 2021 16:34:45 +0000 http://baustelle.julianaherrero.org/?post_type=nor-portfolio&p=147

[vc_row][vc_column width="3/5"][vc_row_inner][vc_column_inner width="1/2"][vc_single_image image="312" img_size="full"][/vc_column_inner][vc_column_inner width="1/2"][/vc_column_inner][/vc_row_inner][/vc_column][vc_column width="2/5"][/vc_column][/vc_row][vc_row][vc_column width="3/5"][vc_column_text]FROM ONE CRYSTALLON TO THE PAMPIA 2017 Suspended installation over reflective board with tonal layer; Steel cable, little stones, tread, micro speakers, anthracite and white coloured wood boards, acryl glass Sound in loop – composition using metallic sound of materials dissected from the process of weaving the nets Size (220cm x 160cm x 340cm) Ausstellungsansicht, © Eva Kelety | Bildrecht Wien 2017 This piece embodies as corpus one of the matrixes that made up the very first work belonging to the series of Sound Floating Landscapes, which was mute at first. It rewrites it as a specific elevated plateau registering the hidden coordinates in a plot and alluding to them as fixed points in space with little stones. It incorporates a tonal layer of crystalline sound aesthetics resulting from moment-by-moment dissections recorded during the process of weaving the wire-nets. The sound composition is abstract and based on the physics and acoustics of the materials relating to the work itself. It almost seems as if the small stones could resemble frozen drops transformed by the musicality of the material, crystallising in a collision. Trying to capture a fleeting moment of a landscape in process of becoming, the title of the work refers to "Pampia" a micro continent that collides with the plate of the Rio de la Plata about 700 million years ago. Today it is an element of the mosaic that forms the South American plate ///The net of public knowledge says: „The word crystallography derives from the Greek words crystallon "cold drop, frozen drop", with its meaning extending to all solids with some degree of transparency, and graphein "to write" https://en.wikipedia.org/wiki/Crystallography „Pampia was an ancient microcontinent or terrane that collided with Rio de La Plate Craton and Rio Apas Craton during the Pampean orogeny of late Proterozoic and early Cambrian.” https://en.wikipedia.org/wiki/Pampia In its setting in Bildraum 01 in the context of the exhibition REM the work is set in dialogue to a transpositional piece: A white Noise, the Grilles and the Sea (2016). Both works together make up a new acoustic composition that combines the crystalline noise of weaving metallic materials with chimes of nature surrounding sounds that highlight the crickets. [/vc_column_text][vc_video link="https://vimeo.com/429422179"][vc_single_image image="364" img_size="full"][/vc_column][vc_column width="2/5"][vc_column_text](2017) REM Solo exhibition, Bildraum 01, Vienna (AT) Exhibition views, © Eva Kelety | Bildrecht Wien 2017 http://kelety.at/ REVIEW gallerytalk.net 30. Mai 2017 • Text von Anna Möslinger[/vc_column_text][vc_row_inner][vc_column_inner][/vc_column_inner][/vc_row_inner][/vc_column][/vc_row]]]>

[vc_row][vc_column width="3/5"][vc_row_inner][vc_column_inner width="1/2"][vc_single_image image="312" img_size="full"][/vc_column_inner][vc_column_inner width="1/2"][/vc_column_inner][/vc_row_inner][/vc_column][vc_column width="2/5"][/vc_column][/vc_row][vc_row][vc_column width="3/5"][vc_column_text]FROM ONE CRYSTALLON TO THE PAMPIA 2017 Suspended installation over reflective board with tonal layer; Steel cable, little stones, tread, micro speakers, anthracite and white coloured wood boards, acryl glass Sound in loop – composition using metallic sound of materials dissected from the process of weaving the nets Size (220cm x 160cm x 340cm) Ausstellungsansicht, © Eva Kelety | Bildrecht Wien 2017 This piece embodies as corpus one of the matrixes that made up the very first work belonging to the series of Sound Floating Landscapes, which was mute at first. It rewrites it as a specific elevated plateau registering the hidden coordinates in a plot and alluding to them as fixed points in space with little stones. It incorporates a tonal layer of crystalline sound aesthetics resulting from moment-by-moment dissections recorded during the process of weaving the wire-nets. The sound composition is abstract and based on the physics and acoustics of the materials relating to the work itself. It almost seems as if the small stones could resemble frozen drops transformed by the musicality of the material, crystallising in a collision. Trying to capture a fleeting moment of a landscape in process of becoming, the title of the work refers to "Pampia" a micro continent that collides with the plate of the Rio de la Plata about 700 million years ago. Today it is an element of the mosaic that forms the South American plate ///The net of public knowledge says: „The word crystallography derives from the Greek words crystallon "cold drop, frozen drop", with its meaning extending to all solids with some degree of transparency, and graphein "to write" https://en.wikipedia.org/wiki/Crystallography „Pampia was an ancient microcontinent or terrane that collided with Rio de La Plate Craton and Rio Apas Craton during the Pampean orogeny of late Proterozoic and early Cambrian.” https://en.wikipedia.org/wiki/Pampia In its setting in Bildraum 01 in the context of the exhibition REM the work is set in dialogue to a transpositional piece: A white Noise, the Grilles and the Sea (2016). Both works together make up a new acoustic composition that combines the crystalline noise of weaving metallic materials with chimes of nature surrounding sounds that highlight the crickets. [/vc_column_text][vc_video link="https://vimeo.com/429422179"][vc_single_image image="364" img_size="full"][/vc_column][vc_column width="2/5"][vc_column_text](2017) REM Solo exhibition, Bildraum 01, Vienna (AT) Exhibition views, © Eva Kelety | Bildrecht Wien 2017 http://kelety.at/ REVIEW gallerytalk.net 30. Mai 2017 • Text von Anna Möslinger[/vc_column_text][vc_row_inner][vc_column_inner][/vc_column_inner][/vc_row_inner][/vc_column][/vc_row]]]> https://www.julianaherrero.org/works/from-one-crystallon-to-the-pampia/feed/ 0