SONIQUE was the first event of sound art in Cuba that had as one of its main actions a review exhibition. With the curatorial work of Ley MA and the main production of MATROSKA –among other sponsors like artlab21-ESMoA, artinhavana, and with the support of institutions like the CDAV and the MNBA–, it offered a panoramic of the diachronic and synchronous development of this art since the 60' decade until the present, starting from Cuban artists' creations (residents and in the Diaspora). It also included some recent works of international artists, that which allowed a comparative analysis of our current sound artistic production with the creation in other contexts (cultural, geographical, social, political, economic, etc.). It highlighted the interdisciplinary, sensorial, interactive and processing character of the sound art, as well as its multiple variants.

This event also included live sessions of multimedia shows with experimental music, performances, lectures by specialists in the topic, a workshop of sound creation and the programming of audiovisual materials.


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[11] In the center: Deus fabulando. Sound installation by Kiko Faxas, 2016 (unique presentation the day of the opening). Fragments of Fidel Castro's Words to intellectuals. The heights of the voice are homologated to musical notes; the result is transcribed to a digital score reproduced by a piano Roland KR-15.

[12] In the end, from left to right: Félix Beltrán, Clik. Saving electricity is saving petroleum, 1980; and Umberto Peña, AYYY, SHASS I CAN´T ANYMORE, 1967. In front: scale model version (2017) by Jossué Arteche of Sandú Darié´s module for Red Tree. 

[14] Left wall: Ernesto Fundora & Ofill Hechavarría, Cha Cha Chaplin Boys video vuelta, 1992. Poster of the video in silkscreen and projection. In front: scale model version (2017) by Jossué Arteche of Sandú Darié´s module for Red Tree. Right wall: Enrique Pineda Barnet and Sandú Darié, projection of Cosmorama, 1963-64. 

[15] Idem.

[16] Idem.

[19] Enrique Pineda Barnet and Sandú Darié. Cosmorama, 1963-64. Audiovisual poetry inspired in "Cosmorama" (kynetic pieces), of the Cuban-Romanian artist Sandú Darié and of poem of Pineda Barnet. 35 mm, color, 3:57 min, monochannel. Produced by ICAIC. 

[20] Idem.
[21] Idem.
[22] Left wall: Ernesto Fundora & Ofill Hechavarría, projection of Cha Cha Chaplin Boys video vuelta, 1992. Right wall: Video-documentation of kinetic sculpture The Red tree (1981) by Sandú Darié and the architect Augusto Rivero. In front: scale model version (2017) by Jossué Arteche of Sandú Darié´s module for Red Tree. At the end: Kiko Faxas, Rumori, 2016; and Levi Orta, Singing alone, 2014.

[23] Frontal wall: Video-documentation of the kinetic sculpture The Red tree (1981) by Sandú Darié and the architect Augusto Rivero. In front: scale model version (2017) by Jossué Arteche of Sandú Darié´s module for Red Tree. Right wall: Carlos Martiel, Silent Prayer, video-documentation, 2014. 

[24] Video-documentation of kinetic sculpture The Red tree (1981) by Sandú Darié and the architect Augusto Rivero. In front: scale model version (2017) by Jossué Arteche of Sandú Darié´s module for Red Tree. 
[25] Idem.

[26] From left to right: Felipe Dulzaides, Ritual dance of fire, 2011; Glenda León, Square piece of music II, 2010, Adaptation II, 2010 and 4 mm3 of music, 2010; Jimmy Bonachea, Rumba Beat, 2005, video of the performance; Rafael Villares, Rehearsal for a multiple landscape #4, 2017 and Reinaldo H. Cid, photography (Parish Saint Peter Apostle, Versalles, Matanzas) from the series Pheromones, video of the creative process, 2015. 
[27] From left to right: Felipe Dulzaides, In beetween, 2011; Glenda León, Square piece of music II, 2010, Adaptation II, 2010 and 4 mm3 of music, 2010; Rafael Villares, Rehearsal for a multiple landscape #4, 2017 and Reinaldo H. Cid, photography (Parish Saint Peter Apostle, Versalles, Matanzas) from the series Pheromones, video of the creative process, 2015. 

[28] From left to right: Carlos Martiel, Silent Prayer, 2014; Felipe Dulzaides, Ritual dance of fire, 2011; Glenda León, Square piece of music II, 2010, Adaptation II, 2010 and 4 mm3 of music, 2010; Jimmy Bonachea, Rumba Beat, 2005, video of the performance and Rafael Villares, Rehearsal for a multiple landscape #4, 2017.

[29] At the end: Kiko Faxas, Rumori, 2016 and Levi Orta, Singing alone, 2014. Right wall, from left to right: Carlos Martiel, Silent Prayer, 2014; Felipe Dulzaides, Ritual dance of fire, 2011; Glenda León, Square piece of music II, 2010, Adaptation II, 2010 and 4 mm3 of music, 2010; Rafael Villares, Rehearsal for a multiple landscape #4, 2017 and Reinaldo H. Cid, photograph (Parish Saint Peter Apostle, Versalles, Matanzas) from the series Pheromones, video of the creative process, 2015. 

[30] Reinaldo H. Cid, photography (Parish Saint Peter Apostle, Versalles, Matanzas) from the series Pheromones. 120 mm, 50 x 60 cm, paper fiber, fixed with pig blood. Video of the creative process, 2015. iPad and headset.

[31] Rafael Villares, Rehearsal for a multiple landscape #4 (Seen from a balcony in Vedado, Havana), 2017. From the series Rehearsal for a multiple landscape (soundscapes), 2014-2017. Fourteen notes of the natural, oil on Arches sketchbook and sound. 12 pages of 23 x 31 cm and headset. 

[47] Felipe Dulzaides, Ritual dance of fire (inspired in the homonymous work of Manuel of Falla, musical arrangement by Felipe Dulzaides father), from the project FD plays FD, 2011. Digitized Videotape, color, stereo sound, 3:57 min. 
[48] At the end from left to right: Félix Beltrán, Clik. Saving electricity is saving petroleum, 1980 and Umberto Peña, AYYY, SHASS I CAN´T ANYMORE, 1967. Wall in front: Juan Carlos Alom, Havana Solo, 2000. 
[49] Idem. 
[50] Idem.

[51] Juan Carlos Alom, Havana Solo (music in a visual-documental way), 2000. Experimental cinema. Digitized celluloid, 720 × 480, 16 mm, monochannel sound, 14:46 min. 
[52] Left wall, from left to right: Felipe Dulzaides, Ritual dance of fire, 2011; Glenda León, Square piece of music II, 2010, Adaptation II, 2010, 4 mm3 of music, 2010; Jimmy Bonachea, Rumba Beat, 2005 and Rafael Villares, Rehearsal for a multiple landscape #4, 2017. Frontal wall: Juan Carlos Alom, Havana Solo, 2000. Right wall: Julio César Llópiz, Avi Sélavy, 2016. 
[53] Left wall, from left to right: Felipe Dulzaides, Ritual dance of fire, 2011; Glenda León, Square piece of music II, 2010, Adaptation II, 2010, 4 mm3 of music, 2010; Jimmy Bonachea, Rumba Beat, 2005 and Rafael Villares, Rehearsal for a multiple landscape #4, 2017. Frontal wall: Juan Carlos Alom, Havana Solo, 2000. Right wall: Julio César Llópiz, Avi Sélavy, 2016. 
[54] Left wall, from left to right: Jimmy Bonachea, Rumba Beat, 2005 and Rafael Villares, Rehearsal for a multiple landscape #4, 2017. Frontal wall: Juan Carlos Alom, Havana Solo, 2000. Right wall: Julio César Llópiz, Avi Sélavy, 2016.
[56] Julio Caesar Llópiz, Avi Sélavy (sound installation as part of a work in progress), 2016. Remixed songs of Alice in Chains, Depeche Mode and White Stripe. Poster and CD of the emerging artist and intellectual, sound system, headset, table, lamp and pills. 
[58] Julio César Llópiz, Avi Sélavy (sound installation as part of a work in progress), 2016. Remixed songs of Alice in Chains, Depeche Mode and White Stripe. Poster and CD of the emerging artist and intellectual, sound system, headset, table, lamp and pills. 

[59] From left to right: Julio César Llópiz, Avi Sélavy, 2016; Jesús Hdez-Güero, BILATERAL DIALOGUE, 2014-2015; Kiko Faxas, Rumori, 2016 and Levi Orta, Singing alone, 2014

[60] Idem.

[64] From left to right: Julio César Llópiz, Avi Sélavy, 2016; Jesús Hdez-Güero, BILATERAL DIALOGUE, 2014-2015 and Kiko Faxas, Rumori, 2016. 

[65] At the end: Jesús Hdez-Güero, BILATERAL DIALOGUE, 2014-2015. In front: Kiko Faxas, Rumori, 2016. 

[66] Kiko Faxas, Rumori, 2016. Phonetic soundscapes. Software written in CSound. Translation of Russolo´s text The art of noises to sounds following the Italian futurist's proposals in his manifesto. The software produces soundscapes for each sentence when interconnecting sound categories with phonetic analysis.  

[67] Idem.

[68] From left to right: Jesús Hdez-Güero, BILATERAL DIALOGUE, 2014-2015; Kiko Faxas, Rumori, 2016 and Levi Orta, Singing alone, 2014. 

[69] Levi Orta, Singing alone, 2014. Video-installation, HD, color, 15:40 min. 2 video channels, 2 sound channels, 2 TVs, 2 DVD players, professional sound equipment, 2 speakers and equalizer desk, 1 pallet. 

[70] Idem.
[71] From left to right: Kiko Faxas, Rumori, 2016, Levi Orta, Singing alone, 2014 and Carlos Martiel, video-documentation of Silent Prayer, 2014. 

[72] Idem.

[73] From left to right: Levi Orta, Singing alone, 2014 and Carlos Martiel, video-documentation of Silent Prayer, 2014. 

[75] Carlos Martiel, video-documentation of Silent Prayer, 2014. Bells in nylon strings tightened by the body and the wall of the space, 20 min. Performance in Steve Turner Gallery, LA, U.S.A. 

[76] From left to right: Carlos Martiel, video-documentation of Silent Prayer, 2014; Felipe Dulzaides, Ritual dance of fire, 2011; Glenda León, Square piece of music II, 2010, Adaptation II, 2010 and 4 mm3 of music, 2010; Rafael Villares, Rehearsal for a multiple landscape #4, 2017 and Juan Carlos Alom, Havana Solo, 2000.  

[82] From left to right: Luisa Puterman (Brazil), TREM, 2013 and Nuria Güell (Spain) The fair of the flowers (made in Colombia), 2015-2016. Seated: Carlos Martiel and the curator Ley MA. Standing: Jesús Hdez-Güero and his daughter. 

[83] From left to right: Luisa Puterman (Brazil), TREM, 2013 and Nuria Güell (Spain) The fair of the flowers (made in Colombia), 2015-2016.  

[84] From left to right: Luisa Puterman (Brazil), Warning, Vehicles, 2014 and Nuria Güell (Spain) The fair of the flowers (made in Colombia), 2015-2016.  

[85] From left to right: Luisa Puterman (Brazil), TREM, 2013 and Nuria Güell (Spain) The fair of the flowers (made in Colombia), 2015-2016. Standing: Jesús Hdez-Güero and his daughter. 

[86] From left to right: Luisa Puterman (Brazil), Warning, Vehicles, 2014 and Nuria Güell (Spain) The fair of the flowers (made in Colombia), 2015-2016.  

[87] From left to right: Luisa Puterman (Brazil), TREM, 2013 and Nuria Güell (Spain) The fair of the flowers (made in Colombia), 2015-2016. 

[88] From left to right: Luisa Puterman (Brazil), Taken care Vehicles, 2014 and Nuria Güell (Spain) The fair of the flowers (Colombia), 2015-2016. 

[89] Idem.

[95] Kiko Faxas, Deus fabulando, from the series Seven hours of speech, 2016. Sound installation. Fragments of Fidel Castro's Words to intellectuals. The heights of the voice are homologated to musical notes; the result is transcribed to a digital score reproduced by a piano Roland KR-15.
[96] From left to right: Manuel Rocha Iturbide and Ariadna Ramonetti (Mexico), 4:33", 2013. Edgar Hechavarría and David Beltrán (Cuba), project of intervention Breaking the sound barrier, from the project Chimeras, 2004; and intervention of the series Clouds, 2003. 

[97] Idem.

[98] Idem.

[99] Manuel Rocha Iturbide and Ariadna Ramonetti (Mexico), 4:33", 2013. Sound installation. Work in progress. In 1952 John Cage made his silent artwork 4'33'' (irony with the standard duration of the canned music). This version of 4'33'' it is its antithesis: it gathers POP songs of 4:33 transferred to white noise.

[101] From left to right: Edgar Hechavarría and David Beltrán, project of intervention Breaking the sound barrier, from the project Chimeras, 2004; and intervention of the series Clouds, 2003. 

[102] Edgar Hechavarría and David Beltrán, project of intervention Breaking the sound barrier, from the project Chimeras, 2004. Intervened photography, silver/gel. Detail. 

[103] Idem.
[104] Idem.
[105] Idem.

[106-130] Multimedia concert of PeRFuMe de MuJeR “El Maldito Rock Cubano Bajo Tierra, Contra el Vientre del Mareo„. “Los Hijos de Linvento“, Tomo Huno, Libro Húnico. MiúSIK eVeNTual x HuNa PioNeRa elfPoSiCióN De JaRTe SoNeTo iNCuBo + Sandra Rami + Alejandro García & Jossué Arteche. January 14 of 2017, Theater of the Spanish American Center of Culture. 

[131-134] Lectures in the Spanish American Center of Culture, January 20 of 2017: 

1. Foundations of sound and music. By: Alejandro Durán Carrillo de Albornoz (professor of the Cathedra of Physics and Music and Investigator of the Institute of Science and Technology of Materials of the University of Havana). 

2. Sculpture and sound installation. By the Mexican sound artist and professor Manuel Rocha Iturbide.  

[135] "In-Pulso". Input process and tests. From left to right: Alejandro de la Torre "DELA" (artist, designer and musician) and frency (assisting curator). 

[136] Idem.