{"@attributes":{"version":"2.0"},"channel":{"title":"J I M E N A S A R N O","link":"https:\/\/jimenasarno.com","description":"J I M E N A S A R N O","pubDate":"Mon, 03 Nov 2025 01:18:19 +0000","generator":"https:\/\/jimenasarno.com","language":"en","item":[{"title":"los dinosaurios (mudo y sin memoria)","link":"https:\/\/jimenasarno.com\/los-dinosaurios-mudo-y-sin-memoria","comments":"https:\/\/jimenasarno.com\/following\/jimenasarno.com\/los-dinosaurios-mudo-y-sin-memoria","pubDate":"Mon, 03 Nov 2025 01:18:19 +0000","category":{},"guid":"14614692","description":"los dinosaurios (mudo y sin memoria)
\n(2025)
\n\u00a0
\nBillboards, North Adams, MA
\n\u00a0
\nBillboards, large-scale printed stills of Super 8 film transferred to video with text, public space
\n
\n
\n 
\nlos dinosaurios (mudo y sin memoria) is currently on view at the corner of River St and Marshall St in North Adams, MA","excerpt":"los dinosaurios (mudo y sin memoria) (2025) \u00a0 Billboards, North Adams, MA \u00a0 Billboards, large-scale printed stills of Super 8 film transferred to video with text, p...","comment":{}},{"title":"text\/ile library","link":"https:\/\/jimenasarno.com\/text-ile-library","comments":"https:\/\/jimenasarno.com\/following\/jimenasarno.com\/text-ile-library","pubDate":"Mon, 03 Nov 2025 01:16:49 +0000","category":{},"guid":"14614694","description":"text\/ile library
\n(2025 - ongoing)
\n\u00a0
\nDrawing on the Latin word \u201ctexere,\u201d meaning \u201cto weave\u201d (the shared root of the words \u201ctext\u201d and \u201ctextile\u201d) the Text\/ile Library includes writings by cultural critics and theorists, historians, poets, and artists and weavers that provide context for and have influenced Rhapsody. By bringing together written texts and textiles, Sarno encourages us to recall that many textiles act as bearers of information for those who hold the knowledge to decipher them.
\n\u00a0
\nColonial and authoritarian governments have historically privileged the documentation and knowledge contained in institutional archives\u2014from birth and citizenship records, to plundered objects stored in museums\u2014over other forms of knowledge, using these archives to shape the telling of histories that support their authority. Sarno\u2019s exhibition asks: what would it look like to contend with these systems of knowledge and unweave the threads of the archive\u2019s imperial structures? One way, the Text\/ile Library suggests, is to stray beyond the types of documents that are seen as valuable, as worth preserving and studying, thereby disrupting archives\u2019 ability to uphold and reproduce the structures of systems of power. Sarno\u2019s Text\/ile Library engages, recovers, and honors, instead, bodies and forms of knowledge that such systems push to the margins, and those shared via intimate networks: maker to maker, scholar to scholar, activist to activist. The space works against the tendency of systems of power to bureaucratically privilege the written word over other forms of knowledge that cannot be so easily archived and codified, and that are built and shared communally and iteratively.
\n\u00a0
\n
\nThe library is housed in an open wood-framed structure matching the dimensions of the artist\u2019s home studio, and set at a slight angle to the floor. This porous, leaky structure frames the artist\u2019s studio as a space of study and learning, rather than of mastery.
\n\u00a0
\nThe Text\/ile Library is currently on view at MASS MoCA, Building 4, 2nd Floor + 5A, as part of my solo exhibition Rhapsody
\n\u00a0
\nPhotography: Jon Verney
\n
\n","excerpt":"text\/ile library (2025 - ongoing) \u00a0 Drawing on the Latin word \u201ctexere,\u201d meaning \u201cto weave\u201d (the shared root of the words \u201ctext\u201d and \u201ctextile\u201d) the Text\/ile Library i...","comment":{}},{"title":"life in the forest","link":"https:\/\/jimenasarno.com\/life-in-the-forest","comments":"https:\/\/jimenasarno.com\/following\/jimenasarno.com\/life-in-the-forest","pubDate":"Mon, 03 Nov 2025 01:16:38 +0000","category":{},"guid":"14561132","description":"life in the forest
\n(2025-ongoing)
\n\u00a0
\nAsynchronous collaboration with the late Alfredo Sarno. Single channel film, sculpture and light installation
\n\u00a0
\nSuper 8 film transferred to video, Super 8 found film and 3D scans transferred to video
\n\u00a0
\nLife in the Forest centers on the conservation of a family heirloom: a small doe and fawn, sculpted in wood by the artist\u2019s late uncle in the 1950s. Sarno has collaborated with conservators to repair the original wooden sculptures using 3-D scanning, wood carving, and gilding to replace missing ears and legs.
\n\u00a0
\nSarno traces the sculpture\u2019s deer motif to Bambi: A Life in the Woods, a 1923 novel by Felix Salten allegorizing the ills of fascism. The installation includes a film shot in Super 8 in the Bosque de Los Arrayanes, which inspired the setting for Walt Disney\u2019s film Bambi, loosely based on Salten\u2019s novel. 3D scans of the deer sculptures and digital scans from the film Bambi Falls in Love are part of the film. It also features a soundscape of field recordings in Arrayanes, and a sound composition sampled from the instrumental soundtrack for a 1970s musical based on Walt Disney\u2019s 1942 movie, Life in the Forest also includes excerpts from Salten\u2019s book, and from a poem by Peruvian poet Rodrigo Quijano, titled \u201cAhora bien, imagina que eres una bala\u201d(\u201cNow, imagine you are a bullet\u201d) which addresses state violence.
\n\u00a0
\nThroughout the filming of Life in the Forest, Sarno chased a missing sculpture: a bronze rendering of a family of deer that she remembered from visits to a park in Buenos Aires as a child, another inspiration for her uncle\u2019s sculptures. After months of conversations with local residents, park employees, and municipal bureaucrats, Sarno tracked the sculpture to a parking lot, where it was trapped behind a yellow barricade, supposedly in the process of being repaired, with no plans to restore it to its home in the park.
\n\u00a0
\nSculptures conservation + 3D scans: Alex Saden
\nFurniture: Jimena Sarno + Alex Saden, with wooden drawers gifted by Marcela and Eduardo Sarno
\nAssistant Editor: Justin Streichman
\nColor: Alex Broadwell
\nPhotography: Jon Verney
\n\u00a0
\nLife in the Forest was commissioned by MASS MoCA and it is currently on view at MASS MoCA, Building 4, 2nd Floor + 5A, as part of my solo exhibition Rhapsody
\n
\n","excerpt":"life in the forest (2025-ongoing) \u00a0 Asynchronous collaboration with the late Alfredo Sarno. Single channel film, sculpture and light installation \u00a0 Super 8 film t...","comment":{}},{"title":"rhapsody","link":"https:\/\/jimenasarno.com\/rhapsody","comments":"https:\/\/jimenasarno.com\/following\/jimenasarno.com\/rhapsody","pubDate":"Mon, 03 Nov 2025 01:15:00 +0000","category":{},"guid":"14614686","description":"rhapsody
\n(2025 - ongoing)
\n\u00a0
\nfilm, sound, textile and sculpture installation
\n\u00a0
\n16mm film and Super 8 film transferred to video. Color. Sculptural elements, chairs, rocking chairs, custom made speakers with woven grills
\n\u00a0
\nFor Rhapsody Sarno collaborated with artists, teachers, and makers, most of whom are from the Global South, combining filmmaking, sound, and sculpture with contemporary and traditional craft practices. Within a global context of extreme violence, fragmentation, and destruction, the artists share time, space, and resources to deepen solidarity through making, repairing, and the collective production of alternative forms of knowledge.
\n\u00a0
\nSarno\u2019s project is framed as an alternative to Modernism\u2019s utilization of cultural production as a tool to imagine utopian futures while reinforcing global systems of coloniality. The central installation features a group of objects made using techniques \u2014 including weaving, felting, woodworking, and pottery \u2014 that rely on bodies of knowledge passed from maker to maker. These objects are tools \u2014 at once utilitarian and utopian \u2014 designed for a hoped-for, not-so-distant future built on solidarity and mutual care.
\n\u00a0
\nBeginning in 2024, Sarno traveled to Per\u00fa, Argentina, and Morocco to learn weaving traditions from artists including Milagros Colodrero, Alicia Leyme, and Celeste Valero. Sarno began to document not only her process of learning to weave, but also the landscapes that were home to the traditions from which she learned. For Rhapsody, she weaves together this footage in a 100-foot-long projection, in which vertical bands of footage juxtapose, for example, an intimate shot of Sarno\u2019s hands weaving on a small tabletop loom with the sweeping skies and mountainous desert of Argentina\u2019s Jujuy province.
\n\u00a0
\nThe title of the exhibition \u2014 and of the newly-commissioned installation at its core \u2013follows the threads of multiple meanings of \u201crhapsody,\u201d including the musical composition characterized by improvisation and an ancient Greek form of epic poetry performed by a \u201crhapsode,\u201d someone who stitched songs and legends together, translating them for new audiences. The improvisational nature of a rhapsody is manifested both in the openness of Sarno\u2019s invitations to dozens of collaborators to participate in Rhapsody, and in the ongoing reconfigurations of the exhibition. With new works being added over the course of the exhibition, Rhapsody, like the futures it envisions, remains in flux, mobile and uncertain, refusing a single, fixed narrative.
\n\u00a0
\n-Film:
\nThe current cut of the film includes 16mm and Super 8 footage of the weaving learning process and the landscape filmed in the Cusco region in Per\u00fa and Northwest Argentina.
\n-Sound:
\nThe current iteration of Rhapsody features a sound composition by musician and sound artist Dirar Kalash.
\nFuture sound composers are Mhamad Safa, Bergsonist and Val Jeanty
\n-Current object collaborators:
\nCandelaria Aaset + Fidela Flores
\nMilagros Colodrero
\nRosendo Diaz
\nLocal Industries
\nAlicia Leyme
\nJosefina Puch
\nLucia Raineri
\nCentro Cultural Tewok
\nEduardo Sarno
\nCeleste Valero
\nVestigios del Futuro
\n
\nMore collaborators will join throughout the duration of the exhibition
\n\u00a0\u00a0
\n-Production:
\nCamera:
\nJimena Sarno, Super 8 Per\u00fa, Argentina, Morocco
\nPablo Mazzolo, 16mm film, Jujuy, Argentina
\nTaha El Houmam, Digital, Morocco
\nGraphics assistance: Joel Fox
\nAssistant editor: Justing Streichman
\nColor: Ben Neufeld
\nExhibition design: Spencer Seres-Byrnes
\nSound Consultation: Owen O'Neill
\n\u00a0
\n-Fabrication team:
\nNick Alaux-Arakawa, Dylan Bean, Zoe Berg, Tavish Costello, Rory Coyne, Sophie Eisner, Alice Hixon Kirk, Tyna Ontko, Paul Paradiso
\n
\nSpeakers: MASS MoCA Fab team + Jimena Sarno (woven grills)
\n\u00a0
\n-Registrar: Ren Rennick + Andy Slemenda
\n\u00a0
\nFilmed in Cusco, Per\u00fa; Juella, Salinas Grandes, Huichaira and Coctaca, Jujuy; Fes and Atlas Mountains, Morocco;
\n\u00a0
\nSpecial thanks to The Anou Collective, Milagros Colodrero, Meghan Clare Considine, Mandy Johnson, Local Industries, Marcela + Eduardo Sarno, Cameron Taylor-Brown and Celeste Valero
\n\u00a0
\nRhapsody was commissioned by MASS MoCA and curated by Alexandra Foradas. It is currently on view at MASS MoCA, Building 4, 2nd Floor + 5A, and was made in part with support of a Research and Creative Activity grant from CSUDH, and with support from Nawat Fes Residency.
\n
\n","excerpt":"rhapsody (2025 - ongoing) \u00a0 film, sound, textile and sculpture installation \u00a0 16mm film and Super 8 film transferred to video. Color. Sculptural elements, chairs, r...","comment":{}},{"title":"las tres gracias","link":"https:\/\/jimenasarno.com\/las-tres-gracias","comments":"https:\/\/jimenasarno.com\/following\/jimenasarno.com\/las-tres-gracias","pubDate":"Thu, 07 Nov 2024 09:27:07 +0000","category":{},"guid":"14556487","description":"las tres gracias
\n(2024)
\n
\n\u00a0
\n12-channel sound, 2-channel video installation, 17:08, looped.
\n\u00a0
\nSuper 8 film transferred to video, color + Super 8 film transferred to video, black and white; 8 suspended PA speakers with 8-channel percussion. 4 felted speakers on felted C-stands with 4 voice channels, USB interfaces, 12 amplifiers, speaker wire.
\n\u00a0
\nLas Tres Gracias is an operatic installation that reexamines western civilization\u2019s myth of democracy and the architecture and role of the theater as both a political and pedagogical experiment. Drawing inspiration from ancient cosmologies and Third World vision, the work explores the cyclical nature of destruction and renewal within the context of imperialist violence and the normalization of contemporary forms of fascism.
\n\u00a0
\nThe project takes its name from a missing neoclassical sculpture by Italian sculptor Antonio Canova, Las Tres Gracias \u2013which once stood in the botanical gardens of Buenos Aires\u2013 and the subsequent search for it. This sculpture depicts the three daughters of the Greek god Zeus, believed to bestow beauty, mirth and grace upon humanity. Utilizing the structure of Greek tragedy, Las Tres Gracias incorporates sound, video, sculpture, light, and text, to create a sensory landscape that reflects on the absurdity, beauty, and brutality of existence.
\n\u00a0
\nLas Tres Gracias was made through remote asynchronous collaboration. The installation features a two-channel video, shot by Sarno in Super 8 film with a hand-held camera, capturing scenes from various botanical gardens\u2013imperial tools used to control and exploit nature in the expansion of colonial enterprises. Central to the piece is a libretto in which Sarno interweaves fragments of texts written by South American revolutionaries and journalists, all of whom were poets. North American composer and vocal artist Molly Pease composed and directed the music for the text, interpreted by a chorus of three operatic voices that reverberates through felted speakers. Pease\u2019s voice whispers the libretto in English on a fourth speaker. Percussion improvisations composed and performed by Italian percussionist Valentina Magaletti animate the actors' lines, emanating from an array of suspended speakers. The choir contextualizes the percussion sections with stories that weave South American creation myths, colonial plunder and extractivism, militarization, ecocide, genocide, liberal complacency, unrealizable utopias, and the collective responsibility of living in just relation with all beings.
\n\u00a0
\nLas Tres Gracias was made in collaboration:
\nVocal composer | Molly Pease
\nPercussion composer and performer | Valentina Magaletti
\nTexts | Eduardo Galeano, Pr\u00e1xedis Guerrero, Salvadora Medina Onrubia, Cesar Vallejo, remixed by Jimena Sarno\u00a0
\nSoprano | Maria Elena Altany
\nSoprano | Ivanna Valdespino
\nAlto | Rosa Evangelina Beltr\u00e1n
\nSpanish narration | Rosa Evangelina Beltr\u00e1n
\nEnglish narration and background vocals | Molly Pease
\nRecording engineer | Collin Davis
\nMix and mastering | Gemma Castro
\nSonic\/visual sync | Martin Carrillo + Miguel Ortega
\nColor | Harris Charalambous
\nMoving image | Jimena Sarno
\nMaterials research and assembly | Alexandre Saden
\nInstallation | Michal Wisniowski
\nAdvising | Mariana Simon
\nLibretto design | Julia Masvernat
\nInstitutional support | Christopher Michno
\nStill photography and video documentation | Chris Wormald
\n\u00a0
\nRecorded at Stone's Throw Studios, LA, CA October 14 2024
\nFilmed in Buenos Aires and Jujuy, Argentina; Saratoga, CA and LA, CA between June 2023 and August 2024
\n\u00a0
\nLas Tres Gracias was commissioned by Pitzer College Art Galleries (curated by Ciara Ennis); supported, in part, by a Foundation for Contemporary Arts Emergency Grant, and was made in part with the support of Montalvo Art Center through the Lucas Artists Visual Arts Fellowship
\n 
\nLas Tres Gracias is currently on view at MASS MoCA, Building 4, 2nd Floor + 5A, as part of my solo exhibition Rhapsody
\n\u00a0
\n
\n
\n","excerpt":"las tres gracias (2024) \u00a0 12-channel sound, 2-channel video installation, 17:08, looped. \u00a0 Super 8 film transferred to video, color + Super 8 film transferred to v...","comment":{}},{"title":"bursting out of the (deep) ocean","link":"https:\/\/jimenasarno.com\/bursting-out-of-the-deep-ocean","comments":"https:\/\/jimenasarno.com\/following\/jimenasarno.com\/bursting-out-of-the-deep-ocean","pubDate":"Thu, 26 Jan 2023 04:39:34 +0000","category":{},"guid":"14426773","description":"bursting out of the (deep) ocean
\n(2022)
\n\u00a0
\nlive soundscape with field recordings of the Pacific Ocean, and samples.
\n\u00a0
\nWorking on the concept of Deep Ocean\/Deep Space I recalled both the oceanographer Jacques Cousteau and the Sumo song \u201cBursting Out of the Ocean.\u201d
\n\u00a0
\nThis soundscape includes:
\n\u00a0
\n-Field recordings I made with a hydrophone from a sailboat on the Pacific Ocean including both dolphins and noise pollution.
\n\u00a0
\n-Recording of dubbed Jacques Cousteau in Spanish, with a thick fake French accent, which is the only way we knew and recognized Jacques Cousteau in the 70\u2019s and 80\u2019s in Argentina. Cousteau exoticizes and compares the deep ocean in Sumatra to space, in a TV show called The re-discovering of the world by Cousteau with music by Vangelis:
\n\u00a0
\n\"...Trapped between reality and fiction, man plunges into another universe. Is it in the sea or in the sky where these spaceships navigate? Is it a jellyfish or a comet?
\nSwimming crabs or errants satellites? Strange fish or rockets?
\nFlower jellyfish or UFOs? A flying fish undersea, or in the sky?
\nFinally, a Milky Way under an artificial sun
\nThreaded plankton forming a delicious pattern like the curtains that hide a closed theatre
\nLike an Aurora Borealis in July
\nWhat planets, what minuscule beings hide within this multitude, in this starry night, in this endless depths?
\nIn the end, farther, might there be anything else?...\"
\n\u00a0
\n-Samples from the Sumo (RIP Luca Prodan) song Estallando desde el Oc\u00e9ano (Bursting out of the Ocean)
\nThis song alludes to the 1797 poem \u201cKubla Khan\u201d by British poet Samuel Coleridge, who wrote it after consuming opium. The poem describes a wonderful place in the depths of the ocean called \u201cOriental Xanadu\u201d where Kubla Khan built his palace:
\n\u00a0
\n\u201c...Over the hills, over the prairies, \/ down in the pampa, up in the tundra, \/ and in Paris in Spring \/ And in old Pekin \/ and in Katmandu \/ And in Xanadu \/ I\u2019m bursting out of the ocean...\u201d
\n\u00a0
\nPhotography and video by Christopher Wormald
\n
\n","excerpt":"bursting out of the (deep) ocean (2022) \u00a0 live soundscape with field recordings of the Pacific Ocean, and samples. \u00a0 Working on the concept of Deep Ocean\/Deep Space ...","comment":{}},{"title":"aeolian","link":"https:\/\/jimenasarno.com\/aeolian","comments":"https:\/\/jimenasarno.com\/following\/jimenasarno.com\/aeolian","pubDate":"Fri, 28 Oct 2022 07:27:41 +0000","category":{},"guid":"14408081","description":"aeolian
\n(2022)
\n\u00a0
\n4-channel sound and sculpture installation
\n\u00a0
\nBreathing, hand-felted horn speakers and c-stands, amplifiers, USB audio interface, sand bags, light fixture and lightbulb.
\n\u00a0
\n\u201cI can make wind,\u201d Gluskabe admitted shamefacedly, \u201cbut I can\u2019t make it stay.\u201d
\nThen God blew, so powerfully that Gluskabe fell down and lost all his hair.
\n\u00a0
\n\u2013Genesis Volume 1 (Memoria del Fuego) Eduardo Galeano
\n\u00a0
\nConsidering how sound travels, aeolian thinks through wind and breathing as manifestations of air as sound. The installation takes inspiration from the significance of wind in mythology. Taking its title from Aeolus \u2013 the keeper of the wind in Greek mythology and his gift of a calm wind as a \u2018safe return home,\u2019 \u2013 it reflects on power distribution, breath as lifeforce, and sovereignty.
\n\u00a0
\nThe installation brings together four hand-felted horn speakers pointing at the four directions. The four speakers play a composition with songs performed by vocal artists, from which only the breathing sounds of inspiration have been isolated. While the inspiring sounds appear to be pulling the air out of the space, the felted speakers absorb some of the sound vibrations, accentuating the senses both through the tactile process of making the work and its experience with the viewer\u2019s breathing in the space.
\n\u00a0
\nVocal artists:
\nGemma Castro
\nRosa Evangelina Beltr\u00e1n
\nMaya Paredes
\nMolly Pease
\n\u00a0
\nThe exhibition was presented at Human Resources November 4 - 21 2022.
\n\u00a0
\naeolian was commissioned by Human Resources as part of Everything in Air a series of public programs over the course of a year\u2014new commissions, exhibitions, performances, and forums, often in hybrid combinations\u2014using key concepts within artist and composer Maryanne Amacher\u2019s work as points of departure. The series was supported by a Mike Kelley Foundation Grant.
\n
\n
\n
\n\u00a0
\nPhotography and video by Christopher Wormald","excerpt":"aeolian (2022) \u00a0 4-channel sound and sculpture installation \u00a0 Breathing, hand-felted horn speakers and c-stands, amplifiers, USB audio interface, sand bags, light f...","comment":{}},{"title":"score for here","link":"https:\/\/jimenasarno.com\/score-for-here","comments":"https:\/\/jimenasarno.com\/following\/jimenasarno.com\/score-for-here","pubDate":"Fri, 14 Jan 2022 19:05:27 +0000","category":{},"guid":"14335012","description":"score for here
\n(2022)
\n\u00a0
\nSite-specific sonic experience using modified field recordings and samples remixed through a custom geolocative app. The free, downloadable app streams on mobile connections.
\n\u00a0
\nSounds, park, mobile connection
\n\u00a0\u00a0
\nScore for Here is a site-specific sonic experience using modified field recordings and samples composed through geolocation. The project invites Los Angeles State Historic Park visitors to compose sound in real time as they navigate the park, and is streamed on the visitor\u2019s mobile connection. A graphic score based on the park\u2019s blueprint\u2013designed paths, landscaping, open spaces\u2013designates each sound element\u2019s triggering zone while each visitor\u2019s navigation of the site functions as an aleatory compositional principle.
\n\u00a0
\nThe project is inspired both by the asymmetric dispute of contested boundaries and cartographies, and what is known in urban planning and landscape architecture as \u201cdesire paths.\u201d Considering geolocative software is traditionally designed to guide and direct, Score for Here repurposes it as an aleatory compositional principle that inspires divergence.
\n\u00a0
\nThe score is composed from sound recordings\u2014by near and far collaborators\u2014which resonate with their experience of belonging. The recordings are processed through granular synthesis to create different textures and layers in the score\u2019s composition. The project\u2019s conceptual approach to the site is one of composting: the composition process breaks down and recombines the sound recordings, ridding them of their original formal qualities. Through recomposition of the sound elements, the sonic experience invites the visitors to consider boundaries and mobility. Acknowledging the site\u2019s contested history\u2014located on the land of the Tongva people, waves of displacement and real estate development\u2015the composition is a proposed way of approaching the site with sounds that reverberate through layers of violence and erasure.
\n\u00a0
\nThe app will remain available on-site indefinitely and will change overtime while the database of usable samples continues to grow. Rather than a seamless, finished artwork for consumption, the work is a morphing proposition, a catalyst for speculation and potential transformation.
\n\u00a0
\nContributing artists:
\n\u00a0
\nTasneem Bishara (Palestine)
\nIvana Dama (Serbia\/US)
\nJoaquin Gutierrez Hadid (Argentina)
\nTanatsei Gambura (Zimbabwe\/Scotland)
\nIris Yirei Hu (US)
\nJorge Espinosa (Ecuador\/US)
\nMarianna Hovhannisyan (Armenia)
\nCoffee Kang (China\/US)
\nMona Kareem (Kuwait\/US)
\nGelare Khoshgozaran (Iran\/US)
\nUna Lee (Korea\/Ireland)
\nYoungEun Kim (Korea\/US)
\nMani Nilchiani (Iran\/US)
\nLiew Niyomkarn (Thailand\/Belgium)
\nIgnacio Perez Meruane (Chile\/US)
\nNooshin Rostami (Iran\/US)
\nMhamad Safa (Lebanon\/UK)
\nHande Sever (Turkey\/US)
\nShima Tajbakhsh (Iran\/US)
\n\u00a0\u00a0
\nCommissioned by Clockshop LA
\nFunded in part by the ArtCenter Faculty Council Grant
\n\u00a0
\nscoreforhere.com
\n\u00a0
\nUse the QR code to download the app on your phone!
\n","excerpt":"score for here (2022) \u00a0 Site-specific sonic experience using modified field recordings and samples remixed through a custom geolocative app. The free, downloadable ...","comment":{}},{"title":"it takes about an hour","link":"https:\/\/jimenasarno.com\/it-takes-about-an-hour","comments":"https:\/\/jimenasarno.com\/following\/jimenasarno.com\/it-takes-about-an-hour","pubDate":"Mon, 13 Sep 2021 05:59:49 +0000","category":{},"guid":"14297547","description":"it takes about an hour
\n(2021-ongoing)
\n\u00a0
\nVoice, hand-thrown and glazed ceramic bowls, lathe-turned wooden speaker
\n\u00a0
\nit takes about an hour considers private and collective memory through food as a vehicle for passing on knowledge and culture in the diaspora. As a square grid of 120 hand thrown ceramic bowls, the sound and ceramic installation brings together recipes passed on from friends and community members through audio recordings of their favorite elders in their preferred language(s). The hand thrown bowls, in their blue and green hues reminiscent of the colors of the ocean, become vessels for the resonance of the sounds of instructions for nourishment, while the grid creates a tangible metaphor for physical distance. A space is defined by the sounds of storytelling and sharing of experience, providing context to think critically about displacement and distance, while shaping collectivity and sense of continuity across languages, ingredients and cultures.
\n\u00a0
\nEach bowl in the installation was thrown and made with the intention of feeding, both figuratively in the form of nourishment and literally as aid for those in need. While some were intended as gifts in exchange for the contributors\u2019 recordings, all the rest of the bowls were available for sale. A percentage of the sales were donated to Paliroots Meal Program in Gaza, Palestine, a program that provides fresh, nutritious meals to children, combatting malnutrition while employing women to help their communities.
\n\u00a0
\nThe bowls were sold on December 11th and 12th, at Jimena Sarno's studio. Please email if you would like to purchase a bowl.
\n\u00a0
\nit takes about an hour has been featured in the Los Angeles Review of Books.
\n\u00a0
\n","excerpt":"it takes about an hour (2021-ongoing) \u00a0 Voice, hand-thrown and glazed ceramic bowls, lathe-turned wooden speaker \u00a0 it takes about an hour considers private and c...","comment":{}},{"title":"score for the near future","link":"https:\/\/jimenasarno.com\/score-for-the-near-future","comments":"https:\/\/jimenasarno.com\/following\/jimenasarno.com\/score-for-the-near-future","pubDate":"Sun, 03 Nov 2019 21:22:21 +0000","category":{},"guid":"13968899","description":"score for the near future
\n(2019)
\n\u00a0
\nSound and sculpture installation
\n\u00a0
\nVoice, custom made walnut furniture, hand thrown and hand inscribed porcelain wares, light fixtures and lightbulbs, horn speakers, amplifiers, custom randomizing sound program.
\n\u00a0
\nscore for the near future is organized around the idea of dissonance, questioning how space is conceived and navigated based on the viewer\u2019s assumptions of power and representation. Functioning as a navigable three dimensional music score, the space is populated by an array of handmade domestic objects\u2014a wooden table, stools, a bench, porcelain plates, bowls and cups. Inspired by mapping symbology and inscribed through hand drawing on the porcelain surfaces, a graphic score connects handmade wooden and porcelain objects in a dissonant score. It collapses the satellite view of our world: its urban and agricultural landscapes, roads and conflict zones onto the domestic realm. It plays with scale\u2014traveling back and forth from the microscopic to the planetary\u2014reminding us of the mutual influence and interconnectedness of all beings and events. The space is transformed into a three-dimensional map and musical score where every presence, absence, and spatial relation is readable as both notation and abstract imagery.
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\nThe resulting score was interpreted and composed by vocal artist, composer and improviser Molly Pease. Through an aleatory process, the score is electronically re-mixed with the recorded fragments of the composition and played back in the space in intervals, re-articulating harmony and dissonance into new formations.
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\nscore for the near future considers the friction of dissonance, re-interpretation and re-composition as generative of imagined possibilities to alter established structures.
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\nscore for the near future was produced at the 18th Street Art Center Artists' Lab Residency and funded by the Mike Kelley Foundation for the Arts.
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\nPorcelain and graphic score: Jimena Sarno
\nFurniture design and wood fabrication: Jimena Sarno + Alexandre Saden
\nComposer and vocal artist: Molly Pease
\nProgramming: Michael Matthews
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\nLive performance:
\nVocal artist: Molly Pease
\nCamera: Jeny Amaya
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\n}
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