T\u00e0pies Centenary Year<\/a>, with the collaboration of Pompeu Fabra University. The proposal focuses on the voice and words to create a sound accompaniment to oral memory. In this way, each of the thirteen sessions will feature a creator whose starting point will be the chair, taken as a performative object, linking back to the creative universe of T\u00e0pies through the expressive languages and settings of the present day.<\/p>\nThe eighth proposal of the series was conceived by Blanca Llum Vidal and Los Sara Font\u00e1n, in an action that modulates textures, processes the voice and lends musicality to things which perhaps were not meant to be music. Bringing together a host of authors, the invited artists will attempt to transform words into rhythmic matter, extracting sounds out of things while building a narrative. As occurs in T\u00e0pies, the chair will not just be an idea, but above all an object and a reality to be considered, agitated and meditated upon.<\/p>\n
<\/p>\n
Blanca Llum Vidal<\/strong> studied Social Work and Catalan Philology, and has a Master in Contemporary Thought. She works in the Zona Franca of Barcelona in a shelter for people who are functional diverse. With Arnau Pons she has translated La Douleur<\/em>, by Marguerite Duras, and individually has translated Duras\u2019s book \u00c9crire<\/em>. She has edited the poetry of \u00c0ngel Guimer\u00e0, Merc\u00e8 Rodoreda\u2019s letters from exile to Anna Muri\u00e0, short stories by V\u00edctor Catal\u00e0, Dues Catalunyes: jocfloralescos i xarons, <\/em>by \u00c0ngel Carmona and, amongst other projects, the book accompanying the exhibition on Francesc Tosquelles and the catalogue for Agn\u00e8s Varda, to be released this year at the CCCB. She was editor of an anthology of feminist essays by Maria Aur\u00e8lia Capmany, and has recited her work in the Catalan Countries, Spain, Ukraine, Santiago de Chile and Buenos Aires (at the International Book Fair). She has written about Ausi\u00e0s March, Blanchot, Kafka, Rodoreda, Arendt, Hersch, Catal\u00e0 and Duras, amongst others. In 2023 she released an anthology of her work, published by Textos Sentido Edi\u00e7\u00e3o & Letras, translated to Portuguese by \u00c0lex Tarradellas, and is currently preparing an anthology of her work to be translated into Italian by Marcelo Belotti, and into Spanish by Unai Velasco. Her publications include La cabra que hi havia<\/em>, Nosaltres i tu<\/em>, Homes i ocells<\/em>, Visca!<\/em>, Punyetera flor<\/em>, Maripasoula (cr\u00f2nica d\u2019un viatge a la Guaiana francesa)<\/em>, Aquest amor que no \u00e9s u <\/em>\/ Este amor que no es uno <\/em>(Spanish translation by Berta Garc\u00eda Faet), Amor a la brega, La princesa sou V\u00f3s <\/em>\/ La princesa sois Vos <\/em>(Spanish translation by Unai Velasco), Llegir petit i escriure sobre literatura i amor <\/em>and No cometr\u00e0s adulteri<\/em>. She has published in the Quadern supplement of El Pa\u00eds<\/em> and in the political and cultural daily El Temps<\/em>, and is currently a regular contributor to the digital review Catorze<\/em>. She has been on stage with Maria Call\u00eds to perform La Infanticida<\/em>, by V\u00edctor Catal\u00e0, performing as well with the classic and post-rock music of Los Sara Font\u00e1n, and most recently with the sound designs of Juli\u00e1n D\u2019Avino, in a show taking its aim at contradictions in politics, love, ethics and aesthetics, both old and new. This year she was an invitee to the Guadalajara Book Fair (Mexico).<\/p>\nLos Sara Font\u00e1n<\/strong> is an experimental duo featuring Sara Font\u00e1n and Edi Pou. They focus on live performance of a physical, passionate and punk character, ever-changing and open to the surroundings. A concert by Los Sara Font\u00e1n is a play on melody and rhythm, adding features of programmatic romanticism to directly and indirectly narrate a story, giving audience members freedom to interpret the work in a personal manner.<\/p>\nStimulated by the question of whether it is possible to advance a career in music without following the productive routines of the music industry, Los Sara Font\u00e1n spent five years touring, playing at festivals and self-run venues across Europe, without recording their music. This was possible thanks to a musical and personal underground network they feel fortunate to belong to. In the autumn of 2023, they released Queda pendiente<\/em>, an album done at their own residence, which they performed, recorded and produced themselves.<\/p>\nTheir music is open code, as the prolific duo continually recomposes its own creations to open them up to broader, multidisciplinary collectives, whether other musicians (SO<\/em> with Amorante, 4132314<\/em> with Tarta Relena and Cocanha), different communities (Laborat\u00f3rio dos Riscos Imposs\u00edveis, with residents of the Fontainhas neighbourhood in Porto), dancers (Fem una bona pena abans de morir<\/em>, with S\u00f2nia G\u00f3mez), poetry (La princesa sou V\u00f3s<\/em>, with Blanca Llum Vidal), theatre (Concrete Matter<\/em>, by Los Detectives, and Songs for the bitch-witch women<\/em>, by Mariona Naudin), or TV series and films (the soundtracks for Autodefensa<\/em>, Magaluf Ghost Town<\/em> and Remember My Name<\/em>).<\/p>\n <\/p>\n
This session of The Chairs of T\u00e0pies will be part of the opening programme of the exhibition Antoni T\u00e0pies. The Practice of Art.<\/p>\n","protected":false},"excerpt":{"rendered":"
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<\/p>\n