Heliófonos
La escucha del sol
Diego Liedo
Based on interpretations arising from the study of sound as an acoustic phenomenon, and on the ways of conceiving and giving meaning to the experience of listening.
The archaeologists of science and technology have traced the human act of observing and interpreting the movement of celestial bodies since ancient times. The artifacts, tools, resources, and knowledge that have accompanied humanity in its cosmic adventure maintain a historical relationship with the cultural context in which they are situated.
Heliófonos is a series of sound instruments that Diego Liedo builds from the premise of interpreting the Sun. In his constructive process, he interrelates a wide range of interests and studies—astronomy, physics, mechanics, electricity, electronics, programming—with materials from nature, through crafts and trades such as luthiery, carpentry, and blacksmithing. Diego manages to align his interest in scientific languages and methodologies, and the use and development of technologies, with the exploration of musical harmony and experimental sound arts.
In his workspace, he dignifies technologies from all eras, assembled with the care of a luthier. Discovering the mechanical, acoustic, or aesthetic virtues of a piece of reclaimed wood holds a joy and significance comparable to incorporating into a programming language data derived from solar phenomena flares, solar dust, radiation aimed at listening to the Sun.
Diapasones, Solares, and Geocentro are the three instruments percussive, wind, and electronic respectively that, from an aural dimension, summon the Sun in this space. In the first, Diego Liedo uses tuning forks crafted in the note G, which are being microtonally tuned with solar energy through an electro-polishing process, from the spring equinox of 2024 over the course of a year, intervening in the passage of months and seasonal periods. Solares is an organ that interprets, in G chords, parameters that space agencies measure from the solar star. And Geocentro is an instrument sensitive to variations of sunlight in space, demanding the full attention of the listener in relation to their position with respect to the Sun in the present.
Immersed in the apparent silence of his research space, Diego Liedo invites us to listen. Like old sea wolves or ancient navigators who once took the Sun as their ultimate guide or as a kind of metronome he symbolically invites us to contemplate that radiant existence, its rhythms, evolution, influence, and resonance. In the experience of listening, the burning matter of the Sun is kindled within consciousness.
Marcela Armas
Residual
Diego Liedo
Residual emerges from the intersection of what is discarded and what insists on remaining. The pieces in this exhibition are made from materials that once served another purpose: wood from urban pruning, broken tubes from solar heaters, motors extracted from broken printers. Each fragment preserves a material memory that, when reactivated, generates new forms of resonance, light, and movement.
Far from the logic of obsolescence, Residual proposes listening to what still vibrates. Everything in this collection seems to suggest that matter doesn't die out, but rather shifts: it changes frequency, body, function.
The residue ceases to be a passive remnant and becomes a poetic agent. In its transformation, an intermediate space opens up between the organic and the mechanical, between the natural and the manufactured. The exhibition invites us to contemplate this transition: to perceive how the seemingly inert holds within itself the possibility of a new vibration.
Residual is, ultimately, a reflection on the continuity of energy in matter. On the persistence of sound, light, and movement as echoes of a broader cycle where nothing is lost, only transformed.
Diego Liedo
Ríos de arena
Esperanza Zavala
If my body is a form, and the earth the space that contains it, can I conceive of myself as part of the landscape, of that land that forms the ground I inhabit? Are we truly speaking of two separate entities or materialities? Are she and I the same? Can identity be translated into form, body, map, or territory? Can territory be understood as a body—or vice versa?
This exhibition emerges from these reflections, in which I explore poetic activations through expanded ceramics and the combination of materials. In one of the actions from Body-Territory, I trace a drawing of my body using strips of clay—referencing manual construction methods used in ceramics—so that in shaping my silhouette, I construct myself as a vessel. Meanwhile, in the series Returning the Earth to the Mountain, I recover discarded tiles to intervene them with various local and industrial clays, small gestures in which dust and sand symbolically return to their place of origin—the mountain.
Through these and other ceramic-graphic actions, and through the exchange of ephemeral forms in paper, plaster molds, and mirrors, “remnant-sculptures” are created: accumulations of memories that intermittently inhabit matter, landscape, body, and context. They claim recognition for ancestral knowledge, such as that of pottery—where the mystical, the mythical, and the mud, the relationship between body and environment, are understood as a whole.
Ana Gómez
Curated by Selma Guisande
Cúmulos y paisajes
Ana Gómez
If my body is a form, and the earth the space that contains it, can I conceive of myself as part of the landscape, of that land that forms the ground I inhabit? Are we truly speaking of two separate entities or materialities? Are she and I the same? Can identity be translated into form, body, map, or territory? Can territory be understood as a body—or vice versa?
This exhibition emerges from these reflections, in which I explore poetic activations through expanded ceramics and the combination of materials. In one of the actions from Body-Territory, I trace a drawing of my body using strips of clay—referencing manual construction methods used in ceramics—so that in shaping my silhouette, I construct myself as a vessel. Meanwhile, in the series Returning the Earth to the Mountain, I recover discarded tiles to intervene them with various local and industrial clays, small gestures in which dust and sand symbolically return to their place of origin—the mountain.
Through these and other ceramic-graphic actions, and through the exchange of ephemeral forms in paper, plaster molds, and mirrors, “remnant-sculptures” are created: accumulations of memories that intermittently inhabit matter, landscape, body, and context. They claim recognition for ancestral knowledge, such as that of pottery—where the mystical, the mythical, and the mud, the relationship between body and environment, are understood as a whole.
Ana Gómez
Curated by Selma Guisande
