Cecilia Castro

Cecilia Castro Selected works

Cecilia Castro

BIO

Cecilia Castro Born  in Córdoba, Argentina in 1980. Composer and sound activist She received her bachelor degree in electroacoustic media and composition from the National University of Quilmes. Some of her works have won awards from the National Art Fund, Telefónica Foundation and Modern Art Museum in Buenos Aires. She presented electronic pieces,  works of mixed mediums and sound  installation  at important national and international galleries such as Diapason Gallery in New York and Reina Sofia Museum in Madrid. She works as professor at the Tres de Febrero National University in the Electronics Art career and as coordinate of the Music and Sound Archive, Quilmes National University  

www.ceciliacastro.net

Cecilia Castro

Doppelgänger ( 2017)

Video & ensamble. https://vimeo.com/291749427

Cecilia Castro

Where religion once was, design has emerged.

The modern subject has a new obligation: the obligation to self-design,

an aesthetic presentation as an ethical subject. (Boris Groys)

Inspired by Boris Groys' book, The Obligation of Self-Design, this piece commissioned by the experimental group Calato tries to express the concerns about self-design and its use as a means of artistic circulation, currently enhanced by social networks. On the concept of the double ghost, I expose the force that leads the artist to confront the self-image: correct it, change it, hide it, adapt it or contradict it.

Cecilia Castro

Musical principles under friendly fire (2016)

Sound Installation & Performance https://vimeo.com/251238736

Cecilia Castro

Friendly fire is an attack by a military force on friendly forces while attempting to attack the enemy,

either by misidentifying the target as hostile, or due to errors or inaccuracy.

A musical performance piece that couples the musician’s instrumental technique with the expertise of the firearms user: their mutual gestures are exhibited, their acoustic mechanics are amplified, their physical preparation is put on show and their psychological tension is put to the test. A possible marching band sets out its tools before the fanfare. They inspect, clean and lubricate the elaborate machinery that will execute the plan, the score. Wind instruments, brass and steel sparkle and grind. Subtle harmonics become shrill feedback while attempting to maximise the threshold of highest electro-acoustic efficiency.

Cecilia Castro

No man’s land (2017)

Audiovisual Install https://vimeo.com/271024614

Cecilia Castro

"The way we interpret the images that control us has more to do with what we were than what they want us to be. An energy transfer that looks more like the ubiquitous noise than a postcard that is built from a horizon . "

The present project is based on a resent audiovisual installation made for a Sound Art Gallery in Buenos Aires. This installation worked on the idea of how we consume images that come to us from the media. How different the construction of our environment can be, starting from an image or from the soundscape that surrounds us. The work consisted of a large-scale projection of a hectic and hypnotic scene on a dark wall, painted with white letter graffiti and completed with the sound that emerges behind the viewer, synchronized to the movement of the waves. The situation is established. The spectator sits on tiered seating, facing the image and contemplates the horizon. The piece creates a mood, with suffocating noise and an image that begins to fail, to glitch. It proposes another scenario, objecting against the reality we consume.

Cecilia Castro

ЯOMA (2018)

Acusmática live - electronic 3D https://vimeo.com/284615088

Cecilia Castro

... Now that we live in an electric environment of information coded not just in visual but in other sensory modes, it's natural that we now have new perceptions that destroy the monopoly and priority of visual space, making this older space look as bizarre as a medieval coat of arms over the door of a chemistry lab." (War and Peace in the Global Village, Marshall McLuhan)

ROMA proposes a timeless space. A future built on ruins of an aural past where all its sound elements are reused and arranged in a new scene that questions our perception of time, space and everything that human pretended to order in there. In this situation, the sampler and the sound banks are like a great archive of sonic information where we do archeology of consumption, production and attention.

Cecilia Castro

12 Dedos (2009)

Pieza para piano y electronica multicanal https://vimeo.com/181405484

«Every time we face the instruments that produce a natural reverberation, the notion of time changes thanks to a phenomenon alien to the will, which is related to the richness and duration of that reverberation. (Pierre Boulez)

This piece is a first step for a work on reverberation as a phenomenon alien to the composer's will and at the same time time modifier. Through the use of electronics and time precision with the piano, the notes of this instrument not only remain in time, but also works in the movement in space.

Cecilia Castro

Terreno Baldio (2019)

Violoncello, electronica y video https://www.youtube.com/watch?v=fRAx5LKdUgY&t=101s

This is a visual and sound response to the Clipping Dunes text I wrote for Autogénesis magazine. In it I propose a collection of artistic narratives to reflect on the references we tend to use in our artistic constructions. Along with this I also suggest, on the one hand, making use of sound as part of a possible ethnography of memory, and on the other, of noise in its potential to erase all traces of the past.

Cecilia Castro

Cecilia Castro Alonso

ESTUDIOS UNIVERSITARIOS

De Post-grado:

- Maestría en Antropología Social y Política. Facultad Latinoamericana de Ciencias Sociales (FLACSO). En curso.

De Grado:

- L i c e n c i a d a e n C o m p o s i c i ó n c o n M e d i o s Electroacústicos. Universidad Nacional de Quilmes (UNQ). Bernal, Argentina. 03.2001 - 12.2006 (5 años y 9 meses)

- Diplomada en Música y Tecnología. Universidad Nacional de Quilmes. 2001-2003.

DISTINCIONES, PREMIOS y BECAS

2017. Beca Fondo Nacional de las Artes, FNA. Línea Creadores. Proyecto: Obra para ensamble vocal, electrónica y video. Argentina.

2008. Beca Atlantic Center for the Art. Residente con el artista George E. Lewis. Florida. Estados Unidos.

2008. Premio MAMbA - Fundación Telefónica, Arte y Nuevas Tecnologías. Mención de Honor en la categoría Proyecto Multidisciplinario.

2008. Buenos Aires, Argentina. 2006. Festival Aguante Bs. As. Mención de Honor, por la pieza electrónica Flashback, en el concurso de Música Electroacústica. Teatro San Martín. Buenos Aires, Argentina.

CARGOS DOCENTES 2014- cont. Coordinación General, Investigación. Archivo de Música y Arte Sonoro. UNQ.

2015- 2019. Docente Adjunta. Materia: Producción Sonora. Universidad Tres de Febrero.

2015- 2019. Docente Adjunta. Materia: Postproducción Sonora. Universidad Tres de Febrero.

2016- cont. Docente Titular. Materia: Evolución de los Estilos Musicales. Centro de Investigación Cinematográfica ( CIC).

2019-cont. JTP. Materia: Sonorización. Universidad del Cine (FUC)

PUBLICACIONES

LIBRO -Savasta Alsina, M.; Castro, C, 2016. Umbrales, espacios del sonido. Catálogo de exhibición. ISBN: 978-987-42-1226-9. PONENCIA.

-Castro, Cecilia y Garutti, Miguel (2017) "Construcción del archivo de música y arte sonoro Fernando von Reichenbach" en II Encuentro de Archivos Universitarios. Museos y archivos universitarios, educación, accesibilidad e inclusión: un debate necesario. La Plata: Universidad Nacional de La Plata. Libro digital. pp. 422-433. ISBN: 978-950-34-1508-5

Cecilia Castro

CATALOGOS, REVISTAS

-Castro, Cecilia (2018) Clipping Dunes. En: Revista Autogenesis 003. pp 6-8

-Castro, Cecilia (2015) Fernando von Reichenbach: Inventor de sonidos. En: Revista Transvisual#9. pp. 41-43. -Castro, Cecilia. (2015) Fernando von Reichenbach (1931-2005). En: Catálogo Encuentro Fase7. pp. 74-75.

OBRA ( selección )

2003. Flashback, Pieza Electroacústica (cuadrafonía) Estreno 18 de Agosto. Teatro San Martín. Buenos Aires.

2005. Miniaturas para Piano y Electrónica. Estreno 29 de Septiembre. Museo de Arte Moderno. Buenos Aires. Argentina.

2007. Artefacto, Obra para Piano, Electrónica y Video. Estreno 29 de Septiembre, Museo de Arte Moderno. Buenos Aires. Argentina.

2008. Yunke. Pieza para 2 baterías y Maquinas de trabajo. Estreno 8 de Junio. Atlantic Center of the Art (ACA) Florida. EEUU.

2008. La Zona, Pieza para percusión, piano y danza. Estreno 7 de Noviembre. Ciclo Contemporáneo Ciudad. Conservatorio Manuel de Falla. Buenos Aires, Argentina.

2008. Solo soy una Cascada, Instalación Sonora. Fundación Telefónica. Buenos Aires, Argentina.

2009. 12 Dedos. Pieza para piano y 12 canales. Estreno 15 de Noviembre Diapasón Gallery.New York, EEUU

2009. Tengo el Puño Anikelado, Pieza para piano y video. Estreno 16 de Octubre. Museo de Arte Moderno de Buenos Aires, Argentina.

2015. eLSITIO. Instalación Sonora para maquinas de coser automatizadas. CONDIT.lab. Buenos Aires, Argentina.

2016. El Pozo. Obra acusmática presentada como instalación sonora. Encargo de la Galería de Arte Sonoro Ohrenhoch. Berlín, Alemania.

2017. Doopelgangër, encargo de la agrupación experimental CALATO. Estreno 24 de Mayo. Centro Cultural San Martin. Buenos Aires, Argentina.

2017. Tierra de Nadie. Instalación Audiovisual. Comisión Centro de Arte Sonoro (CASo). Casa Nacional del Bicentenario , Buenos Aires, Argentina.

2018. ROMA. Pieza acústica para sistema 3D. Residencia de composición ECO. Comisionado por Teatro Nacional Cervantes. Buenos Aires.

2019. Terreno Baldío. Pieza para Chelo, electronica y video. Encargo de Violet Garcia. Chela, Buenos Aires

Cecilia Castro