Luna Montenegro and Adrian Fisher, star couple in performance and video art, are the composers of the music for Sesiones Ch.ACO TV program. Montenegrofisher, also known as the Chilean-British collective mmmmm, say that to create the musicalization they listened to the program several times with their eyes closed. This is how the melody was made in three parts: "curiosity", "joy" and "expression", mixing electronics with human voice.
They comment that in addition to music, they are currently working with visual scores, where during July they will carry out a residency in Switzerland. “We are going to mix sound, performance, and we are going to create these visual scores from a river”, they affirm.
By Ch.ACO Team
How was the process of creating the music for Sesiones Ch.ACO?
Luna Montenegro (L.M.): For us the main concept to create the music was the idea of intertwining the digital with the human voice. We focus mainly on 3 parts, one was the "curiosity" in which we work with sustained notes and the electronic sounds, another was "joy", where it has percussion, a way of embracing the contents to create links with the people, and a third part that we call "expression", which is where the human voice appears.
Why did you decide to participate in this project?
Adrian Fisher (A.F.): I think we were interested in the disciplinary project by multi disciplines, like working with art and universities, and then crossing these dimensions to get a bigger audience, taking out art and galleries space. Also, this gave a more illustrious, more in depth discovery of the idea, to follow the ideas through science and the arts together, to give more multiplicity, meaning, and experience.
L.M.: Mainly that, because we love interdisciplinary and transdisciplinary work, which is why we found the idea of mixing science and art very interesting, which is also part of our work.
What do you think about the results it has had?
A.F.: I think that the music attaches to the contents well, it creates different layers to the program, and then it creates different dynamics within it.
L.M.: For us it has been super positive to see how the music becomes entangled in the contents and strengthens some of them. Music has this power to approach things through the sensory.
What do you think is the contribution of music to the program?
L.M.: On the one hand it emphasizes the dynamics of the program, it gives it a rhythm, and on the other there is this approach to the idea through the sensory, that is something powerful about music in some sense.
What do you think about the relationship between music and identity?
L.M.: Music has that power to create that connection. We saw the program many times and we were thinking about what are important or strong things for us from the idea of the program and see, for example, the whole process with wetlands, with water, and its link to science and technology. That is why we thought about working with digital and human, what is perceived in very small things, some electronic sounds, percussion, and this voice that approaches the content.
How has your career been in the musical world?
A.F.: We were researching sounds as a practice for many years and that has taken formally different bands, mainly experimental music bands, improvised music, jam sessions, so we organized kitching sessions where we invited different people, artists, musicians, poets and creating sounds together.
L.M.: We have always had a part of our work in sonic art and that comes from sound perspectives, concrete poetry and skill recording. We are always experimenting with musical possibilities. But the most important thing is that we like music as a form of collaboration.
Does this have to do with performance, which is very predominant in your work?
L.M.: Performance is at the heart of our work and perhaps it comes from both, a bit of the sonic and a bit of the text as well. Those are the two things we initially work with to create works. We start with text and sound, which later grows in other ways that can be performance, but also a lot of video art.
How has your experience at Ch.ACO been?
A.F.: Ch.ACO has obviously grown over the years, but it has always been a place, I mean is an institutional place, but it has been a place where different international galleries, people and artists from Latin America and Europe, and even the US can meet together and discuss and exchange ideas and see the works that are going on in different parts of the world. I think this has been quite an amazing thing.
L.M.: Personally, we have participated several times in Ch.ACO in different ways, sometimes as exhibitors, other times we have made a public art intervention, which was powerful in our relationship with Ch.ACO. We had the opportunity to create a kind of portrait of the Plaza de Armas, which was part of Ch.ACO, in which we worked with 35 students from art schools and we were able to trace the fingers of 1,000 people who passed through the plaza in one day. Then we took the molds of these unique fingers and installed them at Mapocho Station, where the Ch.ACO fair was present. That was very powerful in terms of approaching the community and being able to portray people who pass through a place. This is related to performance, since even though it ended up being a kind of sculpture, for us it was more of a performance, where the performance was not made by us but by those 1,000 people who passed through the Plaza de Armas.
What are you currently working on?
L.M.: The main projects are, on the one hand, the classes that we are doing as visiting professors in the Master of Art at Chelsea College, but the main thing is working with visual scores. It is a project where we are going to do a residency in Switzerland for two months that starts in July. We will mix sound, performance, and we are going to create these visual scores from a river. They are not only related to the human community, but also to the non-human community. We will work based on this river and create visual forms, together with six musicians to interpret these forms.