{"id":9038,"date":"2026-11-04T12:12:03","date_gmt":"2026-11-04T12:12:03","guid":{"rendered":"https:\/\/materialinmaterial.org\/?post_type=portfolio&p=9038"},"modified":"2026-11-06T17:08:07","modified_gmt":"2026-11-06T17:08:07","slug":"investigacion-sonora-colectiva","status":"publish","type":"portfolio","link":"https:\/\/materialinmaterial.org\/en\/portfolio\/investigacion-sonora-colectiva\/","title":{"rendered":"Investigaci\u00f3n sonora colectiva: tiempo profundo, clima y extracci\u00f3n"},"content":{"rendered":"\t\t
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s\u00edntesis<\/span><\/p>

I<\/span>nvestigaci\u00f3n\u00a0<\/span>que re\u00fane el trabajo de 12 artistas que abordan de forma cr\u00edtica diversos territorios, historias materiales y ecosistemas de distintos lugares del planeta, investigando el tiempo profundo, el clima y la extracci\u00f3n.<\/p>

Con las investigaciones sonoras de Ana Hern\u00e1ndez, Anahita Norouzi, B\u00e1rbara Foulkes, Carlos Edelmiro, Concepci\u00f3n Huerta, Erika Loana (Atlas Materia Prima), Emilija Skarnulyte, Hanae Utamura, Lorena Mal, Long Pan, Perla Mata y Sofia Acosta.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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summary<\/span><\/p>

A research project bringing together the work of 12 artists who critically engage with diverse territories, material histories, and ecosystems from different parts of the globe, exploring deep time, climate, and extraction.<\/p>

Featuring sound-based works by Ana Hern\u00e1ndez, Anahita Norouzi, B\u00e1rbara Foulkes, Carlos Edelmiro, Concepci\u00f3n Huerta, Erika Loana (Atlas Materia Prima), Emilija Skarnulyte, Hanae Utamura, Lorena Mal, Long Pan, Perla Mata, and Sofia Acosta.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t

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[Image: Long Pan, Wind Bell, 2021. Video + installation; single channel video, HD, color, 14 \u20199\u201d, copper bells; plant ash; Circuit boards<\/span>]<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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In ancient times, copper slept inside the mountains\n<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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First as magma<\/span><\/p>

now fills our soil, plants, and even human hair and placentas<\/span><\/p>

scattered as residues from copper ore mining<\/span><\/p>

We are in Guiyu, a small town located on the outskirts of Shantou, China<\/span><\/p>

Declared the most toxic place on Earth<\/span><\/p>

\u00a0<\/p>

The wind chime coexists with this land<\/span><\/p>

The wind sounds terraform into the sound of an ancient ocean<\/span><\/p>

\u00a0<\/p>

We are in Tepe<\/span>xi de Rodr\u00edguez, in Mexico<\/span><\/p>

In the top of a mountain, of a fossil landscape<\/span><\/p>

Where stones speak<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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[Image: Lorena Mal, Piedra Partida, 2024-2025. HD video, color, 19′<\/span>]<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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We submerge into the depths<\/span><\/p>

\u00a0<\/p>

into a mine in Poland under the sea<\/span><\/p>

\u00a0<\/p>

Toxic debris everywhere, we go further.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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[Image: Emilija Skarnulyte, Burial, 2022. HD video, color, 60′<\/span>]<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Further into the last glacier in Mexico, the Chichonal volcano, boiling<\/span><\/p>

bubbles and small gurgles of hot water and calcified stone<\/span><\/p>

a vast body sleeping beneath the surface<\/span><\/p>

a fragile body of rocks that appeared solid<\/span><\/p>

but the volcano\u2019s heat renders them hollow<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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[Image: Field recordings of Chichonal Volcano from the archives of Carlos Edelmiro]<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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hollow<\/span><\/p>

a drill goes further into a mountain making a void for more toxic residues<\/span><\/p>

the walls of an underground tunnel in Lithuania<\/span><\/p>

the Ignalina Nuclear Power Plant\u00a0<\/span><\/p>

the sounds of the volcano\u2019s insides boil stronger<\/span><\/p>

something breathes in the night<\/span><\/p>

like a night hunting under the soil<\/span><\/p>

into a geologic body in the mountains of Iran<\/span><\/p>

the drillings of the British Petroleum Company<\/span><\/p>

the sound frequencies that seek for oil, thirsty<\/span><\/p>

a sonar that travels in stone just as a whale\u2019s call would travel in the ocean<\/span><\/p>

an ancient sea full of future fossil bodies<\/span><\/p>

exploited and burned<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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[British Petroleum Archives, research by Anahita Norouzi on Iran fossil territories]<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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the mountain opens into fossils<\/span><\/p>

\u00a0<\/p>

we listen the stones of Tlay\u00faa Quarry in the mixtecan territory in Mexico<\/span><\/p>

\u00a0<\/p>

we drown in the Axamilpa river, the last remaining body of water<\/span><\/p>

\u00a0<\/p>

we listen, to the wind chime again moving with the tides<\/span><\/p>

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the ocean returns<\/span><\/p>

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the world is flooding<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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[Image: Lorena Mal, Piedra Partida, 2024-2025. HD video, color, 19′<\/span>]<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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in earth shattering disasters<\/span><\/p>

everything disappears and the stone writes<\/span><\/p>

\u00a0<\/p>

floods of human-made toxicity<\/span><\/p>

we are in Torre\u00f3n, north of Mexico<\/span><\/p>

in a metallurgy<\/span><\/p>

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we listen to 70% zinc turned into sound frequency<\/span><\/p>

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22% iron<\/span><\/p>

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2% silver<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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[Permanentemente en proceso. Torre\u00f3n, Coahuila, M\u00e9xico. Archivo de Perla Mata]<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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[Film Still \u2018Spring Water, Fault, Body\u2019 (2021) Hanae Utamura]<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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we are in Horonobe Japan<\/span><\/p>

miles underground managing radioactive waste<\/span><\/p>

in deep subsurface environments<\/span><\/p>

we are still in the nuclear plant in Lithuania, still falling apart<\/span><\/p>

a snake slithers over an abandoned mission control<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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[Image: Emilija Skarnulyte, Burial, 2022. HD video, color, 60′<\/span>]<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00a0<\/p>

In a dream<\/span><\/p>

Tomorrow was Yesterday<\/span><\/p>

Future was Past<\/span><\/p>

A day<\/span><\/p>

a week<\/span><\/p>

a month<\/span><\/p>

a year,<\/span><\/p>

a hundred<\/span><\/p>

a thousand<\/span><\/p>

a million<\/span><\/p>

billion<\/span><\/p>

years<\/span><\/p>

Says a voice through the tunnels<\/span><\/p>

Fault means responsibility.<\/span><\/p>

Whose fault is it?<\/span><\/p>

Who is at fault<\/span><\/p>

A fault in geology, is a crack in the Earth’s crust.<\/span><\/p>

We are inside a fault in the Earth\u2019s surface, breaking<\/span><\/p>

here<\/span><\/p>

together<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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[imagen: Sofia Acosta, Onda, 2020.]<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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we receive telephatic messages<\/span><\/p>

from the Ecuadorian Amazon<\/span><\/p>

nightmares, which emerge from the underground<\/span><\/p>

insisting again and again<\/span><\/p>

there, where listening becomes territory<\/span><\/p>

and territory becomes possibility for relation<\/span><\/p>

the waves, like dreams, return<\/span><\/p>

they circle around us<\/span><\/p>

invisible radiowaves, invisible radiations, invisible tides<\/span><\/p>

a circular temporality<\/span><\/p>

water returning to water<\/span><\/p>

soil returning to soil<\/span><\/p>

\u00a0<\/p>

we are inside the comixcal vessel from the Itsmo of Tehuantepec in Oaxaca<\/span><\/p>

we are that rain that sounds like seeds falling<\/span><\/p>

the void here is an open mouth<\/span><\/p>

\u00a0<\/p>

we listen to a distortion<\/span><\/p>

krrr\u2014krrr\u2014piiiiii\u2014piiii\u2014beepbeep\u2014shhhk\u2014shhhk\u2014 krrrzzzt\u2014wiiiiii\u2014wiiiiii\u2014fshhhhhhhh<\/span><\/p>

it gets us closer to the amazonian territory<\/span><\/p>

its organization<\/span><\/p>

the rivers<\/span><\/p>

the anger<\/span><\/p>

the perseverance<\/span><\/p>

and to the hope of all amazonian communities<\/span><\/p>

that resist to displacement and looting<\/span><\/p>

We listen to the soft echo of a violin singing Yanda Pullu<\/span><\/p>

a song by Mishki Chullumbu, from the Napo Runa pueblo<\/span><\/p>

6 decades of his life dedicated to rescue their memory and music<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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[imagen: Ana Hern\u00e1ndez, N\u00e1\u2019 Reza [Mano Rota], 2025]<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Like the rain, our hands hit the soil of the comixcal<\/span><\/p>

\u00a0we move our bodies as matter<\/span><\/p>

when we are dead we will be compressed<\/span><\/p>

\u00a0<\/p>

and the Earth will take a new shape again<\/span><\/p>

\u00a0<\/p>

as she always does<\/span><\/p>

the amplified sound of the memory of Earth story<\/span><\/p>

the memory in erosion<\/span><\/p>

the memory in burning<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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