{"id":9918,"date":"2013-06-19T14:39:26","date_gmt":"2013-06-19T14:39:26","guid":{"rendered":"http:\/\/www.oncubamagazine.com\/?p=9918"},"modified":"2013-06-19T14:39:26","modified_gmt":"2013-06-19T14:39:26","slug":"seeing-sounds-and-h-earing-images","status":"publish","type":"post","link":"https:\/\/oncubanews.com\/en\/styles-trends\/technologies-of-communication-and-media\/seeing-sounds-and-h-earing-images\/","title":{"rendered":"Seeing sounds and h earing images"},"content":{"rendered":"

“There is a\u00a0growing\u00a0blindness\u00a0and\u00a0deafness\u00a0in this world of\u00a0hurry,\u00a0stress\u00a0and disconnection\u00a0of man with himself”, that is why\u00a0Cuban artist\u00a0Glenda\u00a0Le\u00f3n\u00a0invites us to see\u00a0sounds and\u00a0hear\u00a0images through her work\u00a0\u00a8\u00a0M\u00fasica de las esferas\u00a8<\/i>,\u00a0exposed\u00a0in\u00a0the\u00a055th<\/sup>\u00a0edition\u00a0of\u00a0the Venice Biennale,\u00a0from\u00a0June\u00a01st\u00a0to\u00a0November 24th<\/sup>, 2013.<\/p>\n

On several occasions\u00a0,\u00a0this\u00a0young woman has\u00a0impacted\u00a0with her art\u00a0in the act of\u00a0listening\u00a0as she considers\u00a0that it is “a way of\u00a0returning\u00a0to\u00a0the\u00a0discarded\u00a0essence\u00a0of ourselves,\u00a0of\u00a0our deepest selves\u00a0thatis attached\u00a0to the Universe”.\u00a0I remember during\u00a0the\u00a010th<\/sup>\u00a0Havana Biennial\u00a0(2008) I had the\u00a0opportunity to appreciate\u00a0\u00a8\u00a0Mundo Interpretado\u00a8<\/i>\u00a0, a work\u00a0of her authorship\u00a0exposed\u00a0at\u00a0the San Carlos\u00a0de la Caba\u00f1a Fortress,\u00a0where\u00a0melodies\u00a0connected to five\u00a0world religions were played\u00a0in unison. At that time,\u00a0Glenda\u00a0told me:\u00a0“Actually\u00a0there are not\u00a0top or bottom\u00a0interpretations of the world, they are all the same\u00a0.\u00a0With this piece\u00a0I try to\u00a0achieve\u00a0an integration of\u00a0diverse cultures\u00a0through the\u00a0mixture of\u00a0sounds. ”<\/p>\n

It has been some\u00a0years since that\u00a0interview\u00a0in Havana.\u00a0At this time\u00a0Glenda\u00a0has challenged\u00a0with her\u00a0artistic proposal\u00a0to other audiences\u00a0in Canada, USA, France, Holland, Italy, Germany, Poland, Russia,\u00a0Spain, Brazil,\u00a0Colombia,\u00a0Ecuador,\u00a0Mexico\u00a0and\u00a0Honduras,\u00a0in\u00a0solo and group exhibitions.\u00a0The\u00a0channels city\u00a0receives\u00a0her\u00a0now with this\u00a0sound installation,\u00a0inspired by\u00a0the Pythagoras theory,\u00a0with which\u00a0she\u00a0invites\u00a0us\u00a0to feel\u00a0the world and\u00a0she tells on it: a\u00a0circular\u00a0and\u00a0empty\u00a0pentagram\u00a0was superimposed on\u00a0an image\u00a0of the solar system. A chord\u00a0is\u00a0assigned\u00a0where there was a\u00a0planet;\u00a0a\u00a0music box\u00a0was\u00a0built from the\u00a0resulting\u00a0score\u00a0”\u00a0.<\/p>\n

M\u00fasica de las esferas,<\/i>\u00a0well\u00a0guarded\u00a0by\u00a0Greek gods,\u00a0encourages\u00a0the viewer to\u00a0“empty himself\u00a0of thought and\u00a0ego, to let\u00a0the sounds, words and\u00a0other\u2019s presence\u00a0in\u00a0.\u00a0With the excitement\u00a0still beating, after\u00a0appreciating\u00a0her\u00a0work exhibited\u00a0in\u00a0the Archaeological Museum,\u00a0one of\u00a0the most emblematic buildings\u00a0of\u00a0the\u00a0San\u00a0Marcos\u00a0Plaza,\u00a0and home of\u00a0the current edition of\u00a0the Venice Biennale,\u00a0Glendaanswers some\u00a0questions, this time\u00a0via email.<\/p>\n

How was\u00a0M\u00fasica de las esferas<\/i>\u00a0received in Venice\u00a0?<\/p>\n

What I enjoyed the most\u00a0was\u00a0when people\u00a0remained\u00a0immersed\u00a0in silence, listening and watching my work.\u00a0Some\u00a0attempted to leave\u00a0and then returned.\u00a0Others told it\u00a0invited\u00a0to\u00a0meditation,\u00a0and\u00a0provoked them peace\u00a0.\u00a0There were those who\u00a0could not hear.<\/p>\n

Why\u00a0is\u00a0music a constant in\u00a0your work?<\/p>\n

One of\u00a0the things I most\u00a0enjoyed\u00a0from very\u00a0child was improvising\u00a0movements\u00a0with the songs\u00a0that I liked.\u00a0Years later\u00a0I started practicing\u00a0ballet\u00a0and\u00a0for a long time\u00a0I\u00a0had\u00a0the goal of being\u00a0a choreographerand ballerina.\u00a0Physical conditions\u00a0helped me a lot\u00a0in that\u00a0almost\u00a0obsession. Then\u00a0I realized that,\u00a0at least for me,\u00a0some things were missing and\u00a0others\u00a0were unnecessary in that world.\u00a0I realized\u00a0that what\u00a0attracted me was\u00a0the idea of\u00a0making\u00a0performances using\u00a0music and\u00a0the\u00a0pleasure of listening, that is,\u00a0the\u00a0starting point,\u00a0the\u00a0essential,\u00a0was\u00a0what sounded.<\/p>\n

Another interesting element\u00a0in your work\u00a0is the relationship\u00a0with nature.\u00a0What\u2019\u00a0s\u00a0the reason for it?<\/p>\n

The presence\u00a0of nature in\u00a0my work\u00a0comes from\u00a0my childhood.\u00a0My parents taught me\u00a0to notice\u00a0small insects\u00a0or\u00a0wild flowers,\u00a0and so\u00a0I\u00a0did not see them\u00a0as a\u00a0little detail\u00a0in the landscape,\u00a0but as\u00a0a world in itself.\u00a0Moreover,\u00a0I have always found\u00a0grandeur in the stars, the sky,\u00a0and the sea that\u00a0really\u00a0calms me.<\/p>\n

By observing\u00a0nature we can\u00a0learn many\u00a0things about life\u00a0and\u00a0when\u00a0representing it in\u00a0my work\u00a0I try to remember\u00a0that we are part\u00a0of it,\u00a0and it is part of us\u00a0.\u00a0There is no division as we learned in school. Even outer space has similarities with our life on Earth. Humans are too disconnected from their environment and it is, above all, because they are disconnected from themselves. In a way my work tries to reconnect or make a reference to it.<\/p>\n

You already mentioned\u00a0your\u00a0ballet\u00a0studies, also\u00a0you\u00a0were at the\u00a0Experimental\u00a0School\u00a0of Visual Arts,\u00a0you graduated\u00a0yourself\u00a0in Art History\u00a0at the Havana University and\u00a0have\u00a0a Master\u00a0Degree\u00a0on\u00a0Art\u00a0ofNew Media\u00a0in Germany.\u00a0How do\u00a0these different,\u00a0but simultaneously\u00a0related\u00a0streams, have influenced\u00a0on\u00a0your\u00a0training as an artist?<\/p>\n

I think\u00a0the same that led me to study\u00a0ballet, that\u00a0like\u00a0for following\u00a0the chords\u00a0of music\u00a0with\u00a0the body,\u00a0is behind every\u00a0audiovisual product,\u00a0with\u00a0the difference that\u00a0images\u00a0are\u00a0moving now.\u00a0Even\u00a0when there is no\u00a0music\u00a0in almost\u00a0any of\u00a0my videos,\u00a0some people can\u00a0notice certain\u00a0choreography.<\/p>\n

The Degree in History\u00a0of Art\u00a0gave me\u00a0essential\u00a0knowledge\u00a0for making\u00a0contemporary art.\u00a0I think it’s\u00a0very important to know\u00a0what happened before\u00a0for\u00a0not to repeat it then.\u00a0There are\u00a0many artists who\u00a0work on\u00a0what\u00a0others have already done, sometimes\u00a0up to 60\u00a0years earlier.\u00a0I think\u00a0we could\u00a0dispense with\u00a0tons of\u00a0catalogs, magazines and\u00a0cubic kilometers\u00a0of\u00a0stagnant\u00a0creation.<\/p>\n

Moreover,\u00a0at the Experimental School\u00a0of\u00a0Visual Arts\u00a0I\u00a0learned\u00a0the basics,\u00a0the elementary thing\u00a0in terms of\u00a0visual\u00a0production. And well,\u00a0the Master\u00a0Degree\u00a0enriched me\u00a0a lot, especially\u00a0in\u00a0terms of findingpossibilities\u00a0for solving\u00a0an idea.\u00a0All this learning\u00a0has\u00a0undoubtedly\u00a0shaped me\u00a0as an artist.<\/p>\n

From the works\u00a0you have done,\u00a0which\u00a0one has marked you due to its\u00a0success with\u00a0the\u00a0public, critics,\u00a0etc..?<\/p>\n

Mundo Interpretado<\/i>\u00a0in\u00a0Havana Biennial\u00a0(2008) is\u00a0one that\u00a0has gone furthest.\u00a0It was\u00a0very well made\u00a0and had a\u00a0great public acceptance.\u00a0However,\u00a0there is another one that\u00a0recently beat it,\u00a0Tiempo Perdido,\u00a0<\/i>which I\u00a0first\u00a0showed\u00a0in\u00a0Chateau\u00a0des\u00a0Adhemar\u00a0, France,\u00a0and then\u00a0in\u00a0Madrid,\u00a0with\u00a0Magnan\u00a0Metz\u00a0Gallery.\u00a0It\u00a0had an\u00a0incredible\u00a0media coverage\u00a0in\u00a0Spain\u00a0and every\u00a0person passing\u00a0took\u00a0a photo\u00a0withhis\u00a0camera,\u00a0mobile phone or\u00a0Ipad. The video\u00a0Cada Respiro<\/i>\u00a0was\u00a0also\u00a0in great demand\u00a0.<\/p>\n

You exposed\u00a0\u00a8\u00a0<\/i><\/b>Escuchando el Silencio<\/i><\/b>\u00a0<\/b>en Nueva York\u00a8<\/b>\u00a0<\/b>(Listening to\u00a0Silence\u00a0in New York)\u00a0in 2012,\u00a0what was\u00a0this exhibition\u00a0about,\u00a0how it was received?<\/p>\n

It was, once again, related to\u00a0listening,\u00a0a\u00a0topic\u00a0in which,\u00a0as I said before,\u00a0I am very interested.\u00a0I included\u00a0the pieces\u00a0Objeto M\u00e1gico Encontrado\u00a0<\/i>and\u00a0<\/i>Escuchando las estrellas<\/i>\u00a0<\/i>;\u00a0a series of\u00a0scores\u00a0I makeon the basis\u00a0of\u00a0photographs,\u00a0drawings, and\u00a0smaller objects.<\/p>\n

Despite being\u00a0my first time\u00a0in New York, it\u00a0was well received.\u00a0However, in\u00a0the case of this\u00a0work and in\u00a0that of\u00a0Venice, there is still\u00a0too much noise in\u00a0the heads\u00a0of people to listen to the\u00a0M\u00fasica de las Esferas (Music of the Spheres)<\/i>, or\u00a0even more, the very\u00a0silence.<\/p>\n

You have had the\u00a0opportunity of presenting\u00a0your work\u00a0in many countries,\u00a0but you always come\u00a0back\u00a0to Cuba\u00a0to expound\u00a0your work.\u00a0Why?<\/p>\n

First of all,\u00a0there are enough people\u00a0who know\u00a0my work\u00a0from the beginning in\u00a0Cuba.\u00a0It is very\u00a0gratifying to see\u00a0that these\u00a0people can\u00a0evaluate\u00a0it with\u00a0more tools\u00a0and through a\u00a0deeper approach\u00a0than the one of someone who\u00a0sees\u00a0something of mine\u00a0for the first time.\u00a0I\u00a0want\u00a0to\u00a0give them the possibility\u00a0to\u00a0continue watching\u00a0this.\u00a0On the other hand,\u00a0is a matter of\u00a0feedback, because\u00a0I was trained\u00a0as an artistin\u00a0Cuba.<\/p>\n

\u00a0<\/i><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Interview with Glenda Le\u00f3n, Cuban artist who exhibits her work at the 55th Venice Biennale<\/p>\n","protected":false},"author":424,"featured_media":9905,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"jnews-multi-image_gallery":[],"jnews_single_post":[],"jnews_primary_category":[],"jnews_social_meta":[],"jnews_override_counter":[],"footnotes":""},"categories":[13930],"tags":[],"ppma_author":[33655],"class_list":["post-9918","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-technologies-of-communication-and-media"],"acf":[],"yoast_head":"\nSeeing sounds and h earing images | OnCubaNews English<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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