síntesis
‘Revolutions on the Surface of the Earth’ es
Una sesión de escucha colectiva como parte del programa público de la exposición «What leaves, speaks»
Playlist Curada entiende la escucha como una forma de relacionarse con el territorio, la memoria y la tierra. En esta ocasión, Gris García presentará más detalles sobre el proyecto comisariado por material ●○ inmaterial «El sonido de una montaña que muere» en un montaje performático para el evento titulado «Revolutions on the Surface of the Earth».
Con las investigaciones sonoras de Ana Hernández, Anahita Norouzi, Bárbara Foulkes, Carlos Edelmiro, Concepción Huerta, Erika Loana (Atlas Materia Prima), Emilija Skarnulyte, Hanae Utamura, Lorena Mal, Long Pan, Perla Mata y Sofia Acosta.
Concepto y montaje sonoro: Lorena Mal
Mastering: Carlos Edelmiro
Montaje de texto para sesión de escucha basado en los escritos de todxs lxs artistas : Lorena Mal
info
comparte: Playlist Curada: Gris García
cuando: viernes 19 de junio 7pm a 10pm, 2026
donde: Mz Baltazar’s Lab, Jägerstrasse 52-54, 1220 Viena
registro: @mzbaltazarslab
[Image: Long Pan, Wind Bell, 2021. Video + installation; single channel video, HD, color, 14 ’9”, copper bells; plant ash; Circuit boards]
In ancient times, copper slept inside the mountains
First as magma
now fills our soil, plants, and even human hair and placentas
scattered as residues from copper ore mining
We are in Guiyu, a small town located on the outskirts of Shantou, China
Declared the most toxic place on Earth
The wind chime coexists with this land
The wind sounds terraform into the sound of an ancient ocean
We are in Tepexi de Rodríguez, in Mexico
In the top of a mountain, of a fossil landscape
Where stones speak
We submerge into the depths
into a mine in Poland under the sea
Toxic debris everywhere, we go further.
Further into the last glacier in Mexico, the Chichonal volcano, boiling
bubbles and small gurgles of hot water and calcified stone
a vast body sleeping beneath the surface
a fragile body of rocks that appeared solid
but the volcano’s heat renders them hollow
hollow
a drill goes further into a mountain making a void for more toxic residues
the walls of an underground tunnel in Lithuania
the Ignalina Nuclear Power Plant
the sounds of the volcano’s insides boil stronger
something breathes in the night
like a night hunting under the soil
into a geologic body in the mountains of Iran
the drillings of the British Petroleum Company
the sound frequencies that seek for oil, thirsty
a sonar that travels in stone just as a whale’s call would travel in the ocean
an ancient sea full of future fossil bodies
exploited and burned
the mountain opens into fossils
we listen the stones of Tlayúa Quarry in the mixtecan territory in Mexico
we drown in the Axamilpa river, the last remaining body of water
we listen, to the wind chime again moving with the tides
the ocean returns
the world is flooding
in earth shattering disasters
everything disappears and the stone writes
floods of human-made toxicity
we are in Torreón, north of Mexico
in a metallurgy
we listen to 70% zinc turned into sound frequency
22% iron
2% silver
we are in Horonobe Japan
miles underground managing radioactive waste
in deep subsurface environments
we are still in the nuclear plant in Lithuania, still falling apart
a snake slithers over an abandoned mission control
In a dream
Tomorrow was Yesterday
Future was Past
A day
a week
a month
a year,
a hundred
a thousand
a million
billion
years
Says a voice through the tunnels
Fault means responsibility.
Whose fault is it?
Who is at fault
A fault in geology, is a crack in the Earth’s crust.
We are inside a fault in the Earth’s surface, breaking
here
together
we receive telephatic messages
from the Ecuadorian Amazon
nightmares, which emerge from the underground
insisting again and again
there, where listening becomes territory
and territory becomes possibility for relation
the waves, like dreams, return
they circle around us
invisible radiowaves, invisible radiations, invisible tides
a circular temporality
water returning to water
soil returning to soil
we are inside the comixcal vessel from the Itsmo of Tehuantepec in Oaxaca
we are that rain that sounds like seeds falling
the void here is an open mouth
we listen to a distortion
krrr—krrr—piiiiii—piiii—beepbeep—shhhk—shhhk— krrrzzzt—wiiiiii—wiiiiii—fshhhhhhhh
it gets us closer to the amazonian territory
its organization
the rivers
the anger
the perseverance
and to the hope of all amazonian communities
that resist to displacement and looting
We listen to the soft echo of a violin singing Yanda Pullu
a song by Mishki Chullumbu, from the Napo Runa pueblo
6 decades of his life dedicated to rescue their memory and music
Like the rain, our hands hit the soil of the comixcal
we move our bodies as matter
when we are dead we will be compressed
and the Earth will take a new shape again
as she always does
the amplified sound of the memory of Earth story
the memory in erosion
the memory in burning
coal breaks into steam with a train in the north of Mexico carrying construction materials
from a mountain to places
there’s rhythm and dance and destruction
there are machines
there’s heat and sweat and flesh
there is pressure
1200 watts
interruptions of noise and profit
a new void opens
dynamite inside her body
the sound of a mountain dying
Lorena Mal
Zapotengo Oaxaca, June 2026
Script for ‘Revolutions on the Surface of the Earth’ assembled by Lorena Mal for a performative lecture based on conversations with and writings by Sofia Acosta, Carlos Edelmiro, Bárbara Foulkes, Ana Hernández, Concepción Huerta, Erika Loana (Atlas Materia Prima), Lorena Mal, Perla Mata, Anahita Norouzi, Loong Pan, Emilija Skarnulyte y Hanae Utamura.
Sobre Playlist Curada
Playlist Curada es un proyecto iniciado por Gris García en 2022 que invita a artistas, comisarixs, investigadorxs y escritorxs a compartir sus ideas, intereses y referencias, o a expandir sus investigaciones a través de listas musicales.
El proyecto busca servir como una plataforma para acceder a diversos materiales sonoros, desplegándose tanto en formato digital como de manera presencial a través de activaciones.
En las diversas propuestas se pueden encontrar listas musicales para dibujar, escribir o incluso para hacer el amor; sonidos oníricos para el estado de vigilia, para encontrarnos con nuestros sueños, o bien para despertar de la siesta; canciones para bailar sentadxs y cumbias con filtro antimachista. Así como investigaciones de artistas quienes se adentran en exploraciones sonoras en torno a su práctica o realizan recorridos sonoros para situarnos en sitios específicos.
Sigamos creando playlists, no recomendadas por algoritmos, que nos acompañen en el día a día sea para escribir, dibujar, dormir, follar, transitar, trabajar o simplemente, estar.
Sobre Baltazar's Laboratory
Jägerstrasse 52-54, 1200 Vienna, Austria.
https://www.mzbaltazarslaboratory.org/what-leaves-speaks/