Dissidences*. Sound, voice, word. — Dissidences*. Sound, voice, word. — Dissidences*. Sound, voice, word. — Dissidences*. Sound, voice, word.
Premier of monthly sessions on Saturday afternoons.
Poetesses and/or poets gather in a semi circle around a music improviser. Reading, reciting or babbling. Spontaneity and dissidence are the rules. Spontaneity and dissidence will be the basis for the creation of a collective piece.
Cristina Viti, Jill Rock, M. Gallego & Natalia Figueroa with voice and words
Marina Young bass guitar/electronics
Cristina Viti is a foremost translator of Italian poetry and novels. Her translations include Pasolini’s La rabbia (Anger) and Luca Rastello’s Piove all’insù (The Rain’s Falling Up). Her recent poetry scores multilingualism and contemporary forms of keening. Current activities include workshops with the Radical Translation project at King’s College London.
Jill Rock. Visual artist who first walked into her installation A Room Of Her Own at the Liverpool Biannual, to read and muse at random before the general public. Since then she has been performing poetry, both read and improvised, along with musicians and other poets. She recons Dissidencies is another opportunity to extend her practice with sound and speech collectively, opening levels of listening and communication.
www.cargocollective.com/
Natalia Figueroa Gallardo, La Serena, Chile. Poeta. Doctora en Literatura por la Universidad de Chile. Su libro “Una mujer sola siempre llama la atención en un pueblo” (Das Kapital Ediciones) obtuvo el premio a la Mejor Obra Literaria publicada en 2015 en Chile, en el género de poesía. Tradujo desde el griego moderno “Canción de mi hermana” (Bordelibre Ediciones) y “Diarios de Exilio” (Ediciones del Cardo), ambos de Yannis Ritsos; “Frente al muro” (Ediciones Moneda) de Miltos Sajturis y “Perdí mi confianza en el silencio” (Editorial Monada) de Katherina Angelaki-Rouk. En 2018 se publicó su libro de investigación “Ideologías excluyentes en la literatura chilena” (Historia Chilena). En 2021 publicó su poemario “Experimentos” acerca de la repetición de los días (Autoedición), en 2022 “El Gran Cuaderno del Búho Blanco” (Editorial Aparte) y en 2023 “Diario de una guardavidas” (Bosque Energético).
Montse Gallego is a multidisciplinary artist and founder of the Hundred Years Gallery. She began writing short stories in the early eighties and her poetry has been developed in her notebooks since the nineties, both as silent but permanent supporters of her foremost painting practice. In 2012 she started an experimental project based on automatic poems which was later recorded and edited by herself as a voice-sound-collage series titled Las Naves de Antofagasta. Volume I. Her first ever selection of poems in the form of a book, Al Final del Tiempo, was finished in Paris in January 2020, and printed and hand bound by herself during the first months of the Covid19 plague. The release of Las Naves de Antofagasta. Volume II will be soon, as a recording accompanied of a bilingual book also printed and hand bound it.
Marina Young. A musician, playing bass guitar in various bands from the early 1990’s. During this time she has been continually pushing the boundaries of what is expected of bass guitar. This has led her to experimenting and creating soundscapes using synths and foley devices.
Doors at 4. Performance 4.30 Free / Donations for the artists.
* “Protests against the official policies” — * “Protests against the official policies” —* “Protests against the official policies” — * “Protests against the official policies”
