The exhibition presents a comprehensive sample of the mechanical-sonic collages created by CaboSanRoque over the last fourteen years: fifty devices brought together as a metacollage, a high density sound installation of objects in which visitors can discover each machine and witness an unprecedented mechanical concert.
MARCH 3 — 12 Rounds — CaboSanRoque (Opening night)
MARCH 12 — El run-run del nyigo-nyigo — CSR & Pierre Bastien
MARCH 21 — Maquinofòbiapianolera — CSR & Carles Santos
MARCH 26 — Llamps i Truna — CSR & Truna
APRIL 2 — El run-run del nyigo-nyigo — CSR & Pascal Comelade
APRIL 11, 12 — Mechanical concert — CSR
Free entrance by reservation here.
A WHOLE COLLECTION OF SOUNDS *
We started with a seemingly stupid but fundamental question: what exactly is CaboSanRoque? (or better still, what does CaboSanRoque do, exactly?). For those who have followed them for years, the immediate answer would be: CaboSanRoque is a band—with a membership that varies— that has been performing for fourteen years on stage, has recorded six albums and plays live regularly (no argument with that.)
For those who have only discovered them recently, CaboSanRoque are performers who use various objects to create different shows, in which they are sometimes accompanied by other artists such as Carles Santos, Pascal Comelade and Pierre Bastien (this is also true, but those who know them as musicians will say they continue to make music.) And finally, for those who look at the artefacts they produce without thinking too much about their albums or concerts, and think exclusively about the sounds coming out of their machines, what CaboSanRoque produce could be considered works of art (here we enter into a more elu- sive territory that is related to the very definition of sound art itself, but let us leave that for later.)
As well as these three possible descriptions of CaboSanRoque— musicians, performers and artists—there are also some nuances like those that appear throughout this publication: Pablo Martín Sánchez drags them into the sphere of Pataphysics—an area they believe in strongly and in which they feel comfortable—and Víctor Nubla talks about their machines as archaeological remains found on board a spaceship drift- ing across the galaxy, in another perfect pataphysical exercise.
However, there is one point which perhaps nobody has considered, and which I believe is fundamental to understanding their work: CaboSanRoque are collectors of sounds.
* Excerpt of the catalogue introduction by co-curator and editor Moisés Puente.
Curators Roger Aixut, Laia Torrents, Moisés Puente
Executive producer Oriol Caba
Sound design Guiu Llusà
Exhibition design Cube
All the objects made by Roger Aixut
Except: Three sad thunders (with Laia Torrents), Los árboles aullaron (with Laia Torrents), Bestiari (with Josep Seguí and Laia Torrents, electronics) and França Xica mechanical orchestra (with Josep Seguí and Laia Torrents, electronics).
Photography Inga Knölke
Graphic Design desescribir
Production Museum Fina Duran and Manuel Guerrero
Communication La Costa Comunicació
Communication Museum Neus Purtí
Acknowledgements: François Delaunay, Joana Torrents, Cube (Maria and Gabriel), Jordi Puig, Martí Guixé and Claret Serrahima. And to the CaboSanRoque former members: Josep Seguí, Ramon Garriga, Alberto Mezquiriz, Núria Carrera, Carles Martínez-Almoyna, Oriol Luna, Josep Maria Fita, and Guiu Llusà. To Aixa and Tomeu, Valentina and Andrés, Narcís and Víctor. To our parents.
CaboSanRoque was founded in 2001 as a musical collective named after an old ocean liner. Its current members are Laia Torrents (Vic, 1976), an industrial engineer, and Roger Aixut (Barcelona, 1975), an architect. Its other members during its fourteen-year history have been Pepe Segui, Ramon Garriga, Alberto Mezquíriz, Núria Carrera, Carles Martínez-Almoyna, Josep Maria Fita, Oriol Luna and Guiu Llusà. CaboSanRoque has collaborated with the artists Pierre Bastien, Vinicio Capossela, Pascal Comelade, Carles Santos, Frederic Amat, Za! and Joan Saura.
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