audio-MAD Space >> Alicia Hierro
What does a microphone “see”? To check it, we have put the objective of the camera behind a microphone. With this mechanism, it’s possible to search the Sainte Chapelle in Paris, one of the best french gothic pieces. The audiovisual image shows a tour of the chapel and gives us, literally, a “microphonic” view from abroad.
The environmental sound is captured live while we walk around the room. Voices and echoes are printed randomly, the image interrupted by the background noise reveals a demystification of the space caused by the passage of the tourism.
At the same, in the foreground appears a woman speaking, her face stands out through the screen. The viewer becomes a voyeur of the scene. Through an opaque mask, simulating a cleric imprisoned after the lattice or a woman blinded by a burka, this video makes us partakers of different forms of censorship, created by sin or guilt. Beyond, we can investing perspective listenign through the peephole at a catholic confessional. The true word will be in our case a discourse that we borrow from the troubadour of the 12th century, Peirol, broadcasting hi message in the form of prosaic song.
Atressi co-l signes fai
Quam vol morir chan
Car sai que genseis morrai
Et ab mens d’afan
Ben m’a amors tengut el latz
E manhts trebalhs n’ai sofertatz
Mas pel dan qu’aora m’en ve
Conosc qu’anc mais no amei be.
Comme le cygne
Près de mourir, je chante.
Car je sais qu’alors je mourrai
L’esprit moins troublé.
L’amour m’a tenu en laisse,
J’ai souffert bien des tribulations,
Mais face à tous ces revers, maintenant
Je reconnais que je n’ai jamais su bien aimer.
Even as the swan that knows
It dies, yet sings, so I
Though suffering sing, thus seeking to
Relieve distress and die
With greater merit; for Love has fashioned
Such a snare that the joys of passion
Render its torments bearable:
To them I am insensible.
Así como hace el cisne
Cerca de morir yo canto
Sé que entonces moriré
Con espíritu sosegado.
El amor me ha retenido,
He sufrido demasiado afán,
Pero después de todos los reveses, ahora
Reconozco que no he sabido bien amar.
Later, the camera goes through other sacred spaces such as the Cathedral of Notre Dame. Then, a subtitled monologue starts to tell us some reflections on the Creed. In this talk devoid of voice or chime that accompanies it, a subjective perspective is outlining. Through the confession, the attempt of “truth” that it supposedly associated with the word, meets the own contradictions of one to pondered speak.
Little by little, not consecutive topics appear in the shape of brief speeches close to the aphorism. The text ends in a free speech or presumption’s speech by the author, who is exposed to the mistake from her own conscience.
Alicia Hierro (Madrid, 1982). She develops her creation in contemporary musical performance. Associated member of the research group AS Musique et Arts Sonores, Institut ACTE Univerity Paris 1 PhantéonSorbonne CNRS. She has participated in the project Teatralidades Disidentes HAR 201234075 with the Faculty of the Master of performing arts ARTEA in the Museum Reina Sofía MNCARS. Collaborating partner of the festival INSONORA has composed pieces for the Auditorio Nacional of Madrid SON, Noises in the Void of Stuf inablank or the presenting sign of AudiopolisaudioMAD. It intervenes in conferences such as Muttum, Bruits, Irony Framing Postmodernities, Performa 11, organizes seminars Something Like Music and soon Pensar sin sonido. She write in journals such as Efímeral (CSIC), Quadrivium, Ursonate etc, and she’s the author of the libreto “GROC 19122012” of Sonoridad Amarilla Edit.