2012
El Luthier consisted in activating the exhibition space sonically through a series of sculptural interventions. These interventions aim to transform the first floor of Museo la Ene into a chamber of resonance for string instruments made out of the museum's architecture.
2012
El Luthier consisted in activating the exhibition space sonically through a series of sculptural interventions. These interventions aim to transform the first floor of Museo la Ene into a chamber of resonance for string instruments made out of the museum's architecture.
2012
A classical harp is adapted into a wooden modular wall, so that the new instrument could only be played between two people, unable to see each other’s faces
2012
A classical harp is adapted into a wooden modular wall, so that the new instrument could only be played between two people, unable to see each other’s faces
2012
A spiral staircase is turned into a string instrument, without loosing its original function.
2012
2012
El Luthier can be thought of as a similar construct, one that tackles the sensorial inaccessibility of the thing it strives to evoke by intersecting it with another similarly inaccessible phenomenon. Guillermo Rodriguez defines his ambition in the work as making “the space itself become the medium”, thus pointing to the desire to turn space, this concept that we use extensively but can’t fully experience or understand with our senses, into something able to convey sensible information and mediate artistic intention. The way this installation goes about achieving this is by physically attaching to the bare architecture of the gallery (the peripheral, sensible aspect of “space”), tightened strings able to produce sound – the sensible feature of resonance. The strings and the architecture function here like words, not loaded in themselves but used to indicate the overlapping, un-felt but consciously present phenomena of space and resonance. This opens up the potential of accessing these phenomena not directly, which is impossible, but by means of this intersection which, like a metaphor for something one has never seen, can nevertheless make them possible to recognize.
Noi Fuhrer
