the oath of the 33 orientales, tells a scene of the movement that gave rise to the national independence, declared on august 25, 1825. this work is chosen to dialogue and shape a sound piece, where the painting works as a score for the notes. the painting is an oil on canvas of 311 x 564 cm, made between 1875 and 1878. inspired by the crusade of the 33 orientals and their landing on the beach of the grace, representing the historic moment of the oath they had made in buenos aires aires, which consisted of liberating the country or dying for it. with this and other paintings, an idea of a nation was built that today is sustained in the collective imagination.

juan manuel blanes was one of those responsible for the reconstruction of historical and political events, in the uncertain and fragile memory of what happened, which today is the raw material for our thinking, in which we continue to forge our own identities and places of expression, very rooted in our culture. the meanings were established between the concepts of space, territory, landscape and their relationship inseparable from the culture of the place, where the heroes appear in a geographical area associated with the territories and their landscapes, which continue to function as privileged supports of this activity symbolic now adding a new sound layer to this work, which is generated by the light intensity itself, passing colors in grayscale, coding, fragmenting and extracting these data, which are stored on the canvas and in our visual memory, to be rearmed in a sonorous language, creating a new audible structure. the electromechanical system specially designed, makes a slow and meticulous tour observing through a photographic lens, transcending in sounds this heroic and patriotic iconography. modifying the symbology through a sound generator algorithm, in some way reinterprets the painting, from a contemporary perspective, recontextualizing the message of the work. the occasion invites us to experience painting in a different way, through the auditory as well as the visual. in each of the two speakers a different sound emerges, which leads the observer to enter the landscape of the painting, changing the perception of the painting, which expands into a double work, visual and sound, from an open composition, which never it is exactly the same, looking for new and possible interpretations of the painting.

for more than three hundred years, physicists, mathematicians, musicians and painters have linked colors with musical notes. composers who see colors when listening to music or painters who hear sounds when contemplating a painting. some of them related color and music for pure mysticism, others looking for a new art. now we invite you to recreate synesthetic sensations in the museum room and to cross the borders between sound and color. the camera passes like a kind of scanner over the characters in the picture looking for and expanding what the eyes might not see. translating the frequency of light into sound, looking for a dialogue with the sound notes and the points that make up the picture, now transformed into a visual and sound landscape. synesthetes often perceive involuntary correspondences between color tones, tones of sounds and intensities of flavors. with this transdisciplinary concept, i seek to fuse the historical visual sense of the nation, which we store in memory and transfer it to the auditory, composing a piece in real time, articulated from the expression stored in the pictorial and sonorous codes of blanes.

verticality is a work that reflects on the relationships generated by a geometric situation, brought about by the vibration of the cables and continuous movement, seeking parallels the personal order where everything interacts and moves in some way, creating own changes of complexity human.

electromechanical mechanisms generate a vibration in an old upright piano into disuse, with the proximity of the audience begins to resonate as an acoustic box full of history and symbolism of a bygone era.

the representation played by electromechanical mechanisms, allows me somehow dramatize and choreograph the existence of these automata actors responding to the presence, with motion sensors, a sort of stage framed in the solemnity of the blanes museum.

in the social order and the intentions of submitting the protocol activities in an orderly and processed by different actors, the idea of this visual stage work, mechanical and sound emerges. the blow of a hammer at this facility operates as a deconstructive synonymous with violence.

the sound generated by the impacts on the wall, is picked up by microphones that transform and amplify vibration is generated percussion as a symbolic tool is a hammer, also used as a political emblem tirelessly.

on the other side of the room, a concrete mixer, considered as a constructive tool, lights up with the presence of the viewer and creates a different and contrasting sound situation. both are connected by rubber cables, insulating and elastic, along the room, one responsible for the movement of the other.

protocol reflects on the construct and deconstruct, is a work that contains messages through the sound and performs this data, from the perspective of the person receiving your ideas, that is, to what extent we can act on our daily getting closer to a more reflective position.

marxist footprint is present in this work and thought, but with the characteristic nuances of a new evolution. awareness of the viewer is the way to search through thought, for a renewal of autonomous ideas that are able to foster new concepts. technology leads to registration, to the complicity of the viewer, the development of devices to capture this reality and to create a language with its own narrative.