For in(-)sanity, Ruben De Gheselle collected disturbing sounds from the internet, rendered beyond recognition by electronic means. Thus, the sounds of extremely shocking events subside, submerged in seemingly sweet harmonies intertwined with alienating melodies. A strange serenity, like a distant and vaguely disturbing echo.
In So nah, so fern (So close, so distant), the memory of the composer Luc Brewaeys, — dedicatee of this piece by Philippe Hurel — is subconsciously omnipresent, like a rustle of leaves, inspired by an invisible wind.
Like Virginia Woolf’s description of the sound of Big Ben in Mrs Dalloway – ‘The leaden circles dissolved in the air’ – Clara Iannota ’s D’ après similarly looks at the aftermath of the bells’ clangorous peal as it melts into its surroundings.
Who knows what the endless ripples on the serene surface of calm water reveal? The triptych El agua y la muerte by Filip Rathé plunges into the dark depths of Federico García Lorca's poems, full of reverberations of Arab-Andalusian culture.
Ruben De Gheselle (°1991)
Philippe Hurel (°1955)
So nah, so fern (2016)
Clara Ianotta (°1983)
Filip Rathé (°1966)
El agua y la muerte (2021)
o.l.v. Filip Rathé