The Chairs of T\u00e0pies\u00a0<\/em><\/a>is a series of multidisciplinary sound actions organised in the context of the T\u00e0pies Centenary Year, 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>\n <\/p>\n
Eduard Escoffet<\/b>\u00a0is a poet and sound artist. He has published books of poetry <\/span>a lot<\/span><\/i> (2012), <\/span>The earth and the sky<\/span><\/i> (2013, published in Spanish in 2018 with the title<\/span> ground and sky<\/span><\/i>) and <\/span>Less and everything<\/span><\/i> (2017), apart from the artist’s book <\/span>Estramps<\/span><\/i> with Evru (2012) and the poster-poem <\/span>Plantation<\/span><\/i> (2021), Carles Hac Mor award. In 2018 he was a finalist for the Prix Bernard Heidsieck, awarded by the Center Pompidou and the Fondazione Bonotto. With the electronic band Bradien, with whom he collaborated between 2009 and 2016, he published the albums <\/span>Pols<\/span><\/i> (2012) and <\/span>Scale<\/span><\/i> (2015). He is currently a member of the group Barba Corsini, with which he published the album in 2021 <\/span>A new fire<\/span><\/i> He is the author with Gianluca Abbate of the virtual reality film <\/span>body inside<\/span><\/i> (Italy, 2019), winner of the Goethe Prize at the Zebra Poetry Film Festival in Berlin.<\/span><\/p>\nIn 2022 he composed the piece <\/span>Ode to the Walking Class<\/span><\/i> for the German vocal group Sprechbohrer within the framework of the project <\/span>The Poet\u2019s Sound<\/span><\/i>. In 2022, the sound performance for tapes premiered in Barcelona. <\/span>Utopia and slavery<\/span><\/i> (piece for 25 mechanical voices)<\/span><\/i>, which could later be seen in Tarragona and Madrid. In 2023 he presented the double exhibition Growth and Degrowth by Howard Roark at Chiquita Room and The Green Parrot (Barcelona) and published the album of sound poetry and vocal improvisation <\/span>Bastide<\/span><\/i>, published by Erratum (Paris) and Sonhoras (Barcelona).<\/span><\/p>\n <\/p>\n
T\/H-partitura <\/strong><\/p>\nA sound dialogue between Bernard Heidsieck and Antoni T\u00e0pies<\/strong><\/p>\nEduard Escoffet |Length: about 25 min<\/p>\n
Between 1959 and 1960, Bernard Heidsieck composed Po\u00e8me-partition T<\/em>, a sound poem dedicated to a painting by T\u00e0pies, who in those years was forging his career in the European gallery circuit, and especially in Paris. As he had done earlier with paintings by Jean Degottex and other artists, Heidsieck wrote and recorded with his tape recorder a poem that played with layering and the timbre of the voice, and which was, in the end, an open dialogue with T\u00e0pies. Heidsieck sent the poem to T\u00e0pies, but the painter never responded and their dialogue was cut short.<\/p>\nT\/H-partitura <\/em>[T\/H-score] thus seeks to activate this dialogue between the two creators. The resulting piece remakes the sound materials from the Heidsieck poem while adding features that create connections between the two poetics, such as the chair, the main theme of this series. It is a quadrophonic piece done with four cassette tapes and live voice, conceived as well to dialogue with the museum building and the railway sounds that run through it. As in previous pieces by Escoffet, such as Utopia i esclavatge<\/em> [Utopia and Slavery] (La Capella, 2022) and Echo and the Oracle<\/em> (CCCB, 2023), T\/H-partitura<\/em> experiments with vocal overlaying and physicality of the voice. In this case, furthermore, it explores common features between the work of Bernard Heidsieck and that of T\u00e0pies.<\/p>\nWhile they were never to have a creative dialogue between them, there are many features that bring them close together. Both creators impregnate their works with reality\u2014with objects, in one case, and with recordings from the street in the other. They manipulate materials\u2014earth and paint in one case, the recording tape itself in the other\u2014and also go beyond the supports themselves\u2014the canvas and the page, respectively\u2014in creating works that must be seen or listened to live, putting the body front and centre, whether in gesture or voice. Many poets have written about T\u00e0pies, but few have accomplished what Bernard Heidsieck did in shifting the essence of the artistic code of T\u00e0pies to another support: he makes the painting anew by working with text and voice in a way that is true to T\u00e0pies. T\/H-partitura<\/em>, therefore, is the reconstruction of these echoes.<\/p>\n","protected":false},"excerpt":{"rendered":"Eleven session by the artist Eduard Escoffet.<\/p>\n","protected":false},"author":207,"featured_media":35423,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_tribe_events_status":"","_tribe_events_status_reason":"","_tribe_events_is_hybrid":"","_tribe_events_is_virtual":"","_tribe_events_virtual_video_source":"","_tribe_events_virtual_embed_video":"","_tribe_events_virtual_linked_button_text":"","_tribe_events_virtual_linked_button":"","_tribe_events_virtual_show_embed_at":"","_tribe_events_virtual_show_embed_to":[],"_tribe_events_virtual_show_on_event":"","_tribe_events_virtual_show_on_views":"","_tribe_events_virtual_url":"","footnotes":""},"tags":[],"tribe_events_cat":[5770],"acf":[],"yoast_head":"\n
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<\/p>\n