On 26 March 1959, three lorries loaded with the remains of 179 unidentified Republican combatants left Girona for the Valley of the Fallen. Their remains had been exhumed from 22 graves in different towns in the province. After a long period of research in collaboration with the Bòlit, cabosanroque located the sites of 11 of the 22 graves and dug a hole in each place.

The installation is constructed from two complementary representations of the silence contained in these holes. On the one hand, there is a set of weighing plates with soil extracted from the places where each grave was supposed to have been. The weight of the earth from each hole generates a tension on a metal string and consequently a different note for each pit. These notes are sounded by electromagnetically exciting the metal strings. On the other hand, there are the silences of the videos recorded in each hole. With these notes and silences, a contemporary oratorio has been composed, in memory of the 179 names that we will never be able to pronounce.

Using the weight of the earth and the dust to make a requiem that visualises and gives a sound-body to the fading of 179 names, to put the noise of the silences in the holes in place of these names that we will never be able to say.

Installation. Festival LlumBCN, Barcelona.

In this collaboration between Studio Animal and cabosanroque, the theme of the LlumBcn 2025 festival ‘trànsit’ (transit) is literally transferred to the traffic lights. The proposal changes the meaning and linguistic function of the three coloured lights with exclusive messages to turn traffic lights into lamps. Once the prohibition of using two colours simultaneously is destroyed, an infiinite gradient palette is generated, a gradual transition from red to green. At the same time, the functioning of the apparatus and the system is stressed to the maximum, generating remnant images with aggressive backlighting that make coloured lights appear that do not correspond to any of the three lamps.
Trànsit is an immersive experience that invites the spectator to immerse himself in a dialogue between movement and stillness, between flow and pause.

Politonos is an installation that formed part of the Fundación Telefónica’s exhibition Miradas que comunican, which placed the company’s heritage at the disposal of six contemporary artists who, from their different disciplines, have given other aesthetic and conceptual senses to objects that are already history.

Cabosanroque focuses its attention on the company’s icon, the telephone, to create a sort of topography with around 250 terminals from different periods. A central object in the domestic space, a landmark of industrial design and popular culture, the telephone has undergone multiple transformations. Through different models (Heraldo, SATAI, Teide and Forma), we can infer a technological and social evolution that is materialised in subtle gestures such as the transition from the dialling dial to buttons or the appearance of functionalities that expand the possibilities of voice communication.
Long before cameras or LCD screens were integrated into mobile devices, the polytone offered the first opportunity to personalise our phones and turned them into musical instruments. Cabosanroque squeezes the sound capabilities of each handset until they explode into a philharmonic composition. The installation applies the concepts of polytone and instrument to desktop phones to create a suite that gives prominence to the timbral variety of the devices.

Yanvalou is an installation from the work Demons.

In 2021 was exhibited in Aerodream. Architecture, design et structures gonflables 1950-2021 exhibition from Centre Pompidou. Curated by Frédéric Migayrou and Valentina Moimas.

Retrospective exhibition (2015-2001) in Arts Santa Mònica, Barcelona. 03.03 – 12.04.2015

The exhibition focused on the collection of sounds from cabosanroque, detaching the artifacts, machines and instruments from the context in which they were created. Their machines, installations and shows produce new sounds which, like in the collections of past centuries, move between what is strange and beautiful, between wisdom and curiosity, all condensed in space and time in their particular collector’s cabinets. A collection of sounds means understanding the multiplicity of the sound world, finding a hidden meaning and, on the personal plane, apprehending the magnitude of what is marvellous in the discovery of each new sound.

During Easter 2010, Carles Santos and cabosanroque coincided at the Silence Procession in Murcia, and it’s here, in the middle of the silence, where Maquinofòbiapianolera , a piano and mechanical orchestra stage concert started its ignition.

The musical structure typical for a piano and orchestra concerto was achieved by the flirting and confrontation game between the man and the machine, the pianist and the mechanical orchestra, the natural rhythmic force that flows out of Santos and the velocity and precision of a computerized mechanical orchestra.

Maquinofobiapianolera is the superposition of two different composing worlds, The contemporary music world that draws on classical traditions and the experimental world that stems from rock and roll.

RRR is a dialogue without a map between the dance of La Veronal – choreographed by Marcos Morau and danced by Jon López, the music and the sound space of cabosanroque – with the unexpected machinations of Laia Torrents and Roger Aixut – and the pictorial images of Frederic Amat – who tense the painting with the action on stage.

With a constant buzz – curiosity, the enigma of three letters that illuminate -, RRR opens an unexpected space that each provides a very diverse background to explore and overcome the boundaries between image, sound and movement, to surprise the spectator until the fading, offering the mosaic of scenes to the audience’s sight and hearing in which the ink choreography stains the notes of the kaleidoscopic score of cabosanroque, which is torn by the breadth of La Veronal’s movement.

Ursonate Karaoke  takes advantage of Karaoke’s liturgy to transcribe the Kurt Schwitter’s original poem by means of new phonemes, primitive electric sounds emerging from interferences between the magnetic fields illuminating the syllables and the sound amplification system. The neon letters produce new sounds which do not correspond to their phonemes -electric parasites-, new minimal sound units.

Ursonate (primitive sounds sonata) is a long sound poem, maybe the longest one in history. The author is the German artist Kurt Schwitters, who back in 1921 started to compulsively repeat the sequence of a typographic poem by Raoul Hausmann which reads like this: “Fmsbwtözäu, pgpggiv?mü, Fmsbwtözäu, pggiv?mü, Fmsbwtözäu, pggiv?mü…”. Finally, in 1932 he recorded and published Ursonate, a 55 minutes sonata which has become one of phonetic and typographic poetry highest expression.

Collective destruction of a string quartet by Haydn

Thus, the string quartet must be destroyed by stoning.
Haydn’s String Quartet 66 in G major, opus 77 is played. Or at least it was a while ago.
Each and every impact against the violins, viola or cello generates a slight random modification of the harmony, rhythm or tone of that voice and every hit takes us a little farther away from the original composition.
Every assault against the instrument is corresponded by an aggression against the musical form: to watch the destruction of the instruments while listening to the decomposition of Haydn’s Quartet hoping that eventually a beach will emerge.

One of the most known slogans in May 1968 in Paris was “sous les pavés, la plage!” (under the paving stones there is a beach!). The sentence referred to the sand which was revealed under the paving stones when the students set street barricades up. The beach, space of liberty, soft and shapeless, as opposed to the straight design of the streets and the regulated direction of traffic. Even when, finally, neither the beach nor the impossible showed up, along those days paving stones were thrown against all institutions, rules and hierarchies, with the conviction that collective force could destroy the established order.

The installation’s aim is to play with that positive sense of destruction and its capacity to bring about hope, despite of the uncertain final result. Destruction as a form of progress and collective creation.
The string quartet as a paradigm of the classicistic musical form (historic canonical moment and regulatory par excellence) is a strict framework of formal rules and restrictive relations amongst its four voices. An alteration of a single note can take the form to spaces conventionally forbidden.