VIDEO TEASER---> vimeo.com/444028399
"Music with a meticulous impact and a heavenly touch that should be listened to attentively. The listening experience brings us some dark, bassey, underground energy, to emerge again into a transcendent and luminous atmosphere. It is in this contrast of intensities and textures that we immerse ourselves while our ears are drawn further and absorb this beautiful record.
Electromechanical devices punctuate the black and reverberating background and the quasi-scientific universe is complemented by a sense of subjectivity, as if it had been recorded on an impulse to explore obscure aquatic worlds. Sublumia Liquid Aesthesia is full of tactile sounds, oscillating and resonating within us; water is, after all, a fundamental component of the body. At Lisboa Soa, in 2018, we had the privilege of watching the first performance of this piece by Henrique Fernandes and Jorge Quintela in the beautiful Reservoir of Patriarcal, a dark and humid space that, for a full 4 days, was inhabited by their prepared aquariums, shadows and lights that brought life and sonic plasticity, far beyond the merely audible or readily visible."
"Nice sound ! I liked the device that was shown at Lisboa Soa in Lisbon but the sound archive is also very nice."
Before any description about the motives and desires that this object/sound recording has evoked, we would like to thank Ján Solčáni for the challenge, the vision, his patience; to João Ricardo, who accepted the challenge and took true ownership of the work; to Raquel Castro and Lisboa Soa for their support and curatorship; to Paulo Abreu and Mestre André for the performance records at Lisboa Soa Festival; to Gustavo Costa for his actions, sharing and participation in the theme “the transparency of memory”; to those friends who guided us in different ways: Alberto Lopes, Ana Luísa Veloso, Catarina Lopes, Rodrigo Cardoso, Tânia Dinis, Patrícia Caveiro, Tatiana Heuman; to Bando A Parte for the material support; to Sonoscopia, our home, and the stage for all the plot and history of these recordings.
Finally, to Carla Martinez, Jigyas Bora, Lukas Kühne, Eduarda Estrella, Guilherme Simões and João Repolho who participated in the performance at Lisboa Soa and from which a fragment of their participation on theme “The Transparency Of Memory” is included here.
Sublumia: Liquid Aesthesia is a performance/sound installation created by Henrique Fernandes and Jorge Quintela. It was premiered in September 2018, at the Patriarchal Reservoir, in the context of the Lisboa Soa festival.
The present phonographic record is an independent sound piece which reinterprets and invokes the original work, departing from its memory and aural dimension.
Sublumia is composed of a set of sound objects/visual devices, distributed throughout the performance space. These objects/devices might be characterized as inducers and facilitators of a symbiotic relationship between the emitter/object and the receiver/ space.
Idealized as a vehicle for manipulation and enhancement of plastic and sound imagery, it is associated with the characteristics of an underground space, be it natural or of human construction.
The objects that integrate it use the sound capture and projection of light from and on water and several electromechanical elements, such as air pumps, dc motors and sound induction devices, without resorting to manipulation or any type of artificialization of the sound sources or lighting.
It should be noted that, in addition to the sound and resonant qualities of the materials used, such as water – a central element of the work and of the intervention space - glass and acrylic, these aesthetic and plastic elements act as vehicles of transformation and enhancement of images and of luminous and auditory narratives.
released August 7, 2020
Recorded and mixed by João Ricardo, Henrique Fernandes and Jorge Quintela in October 2019, Sonoscopia, Porto
Mastered by Tomáš Vtípil / dinn (dinn is not noise)
Design by Deep Throat Studio
Translation and correction by Vít Bohal
Released by Skupina as SKPN006 in 2020
Financially supported by Brno University of Technology - Faculty of Fine Arts