Diary

12/04/2024. Tàpies’s chairs. Performance. Fundació Tàpies. Barcelona.

07/06/2024–13/10/2024. 22 holes to make a requiem. Installation. Bòlit, Centre d’Art Contemporani. Girona.

10/06/2024–12/01/2025. Politones, Suite for desk phones. Installation. Fundación Telefónica. Madrid.

30/10/2024–17/11/2024. The crying beaver. Expanded theatre. Teatro de la Compañía Nacional de Teatro Clásico. Madrid.

06/11/2024–10/11/2024. Demons. Expanded theatre. Shaubude. Berlin.

22/11/2024–24/11/2024. The crying beaver. Expanded theatre. Festival Temporada Alta. Girona.

Biography

Cabosanroque are Laia Torrents Carulla and Roger Aixut Sampietro. Their work revolves around sound and its performative capacities. Their interventions question the exhibition space and formats; they also question the spectator when it comes to inhabiting this physical, temporal and conceptual space; sound and visual. They are interested in artifice and its relation to humans.  

 

They look for tensions between disciplines such as music, theatre, visual arts and sound to open up margins, spaces in conflict. Their academic background (music, industrial engineering and architecture) leads them to use technology in all their works, always understood as a tool, as a medium and not as an aesthetic, in a continuous process of research. They often collaborate with other artists, thinkers and writers.

 

Since 2012 their works have been exhibited nationally and internationally. In recent years they have been in: CaixaFòrum + (2023); Centre de Cultura Contemporània de Barcelona (Barcelona 2023); Cité de l’Architecture, (París 2021); Centre Georges Pompidou, (París 2020-2021); Center for Contemporary Arts of Glasgow, (Glasgow 2019); Casa Encendida, (Madrid 2018);  Shaubude,  (Berlin 2018); Fonoteca Nacional de México, (Ciudad de México 2012); Teatre Nacional de Catalunya, (Barcelona 2023, 2016, 2008); Sonar Festival, (Barcelona: 2018, 2015, 2014, 2010, 2008, Frankfurt: 2008, Santiago de Chile: 2015); Grec Festival (Barcelona 2023, 2021, 2006); Festival Temporada Alta (Girona 2022, 2019, 2016, 2012, 2009); La Filature Scène Nationale de Mulhouse (Mulhouse 2019); Théatre Garonne, Scène européenne de Toulouse (Toulouse 2024, 2020, 2019), Unidram Festival (Berlin 2009). Festival (Berlin, 2009).

 

Since 2015 they have been resident artists at the Fundació Lluís Coromina.

 

 

 

 

Photo: Inga Knölke

Collaborations

Perejaume (2023 Site Un-specific, 2019 Un nom, 2017 No em va fer Joan Brossa), Graciela Iturbide (2022 Site Un-specific), Rocío Molina (2022 Flors i Viatges, 2019 Dimonis, 2015 Impulso), Niño de Elche (2022 Site Un-Specific, 2019 Dimonis, El conde de torrefiel (2023 Site Un-Specific), RCR Architecs (2020 Mise en scène dun lieu) Marcos Morau (2018 RRR), Frederic Amat (2018 RRR) , Carles Santos (2014-2012 Maquinofòbiapianolera), Pascal Comelade (2010-2014 Bel Canto Orquestra), Enric Casasses (2019 Dimonis) among others.

Publications

2022. AerodreamArchitecture, design et structures gonflables, 1950-2020. Exhibition catalogue. Fréderic Migayrou i Valentina Moimas, Edited by Centre Pompidou-Metz.

 

2020. RCR Arquitectes au Centre Pompidou. Article Mise en scène dun lieu. Edited by Institut Ramon Llull i el Centre Pompidou. 

 

2018. Arxius de poesia experimental. Perspectives de futur. Article. Edited by Universitat de Barcelona Edicions. 

 

2015. La cobla patafísica 2015-2001. Solo Exhibition catalogue  of cabosanroque. Edited by Arts Santa Mònica i Fabulatorio. 

 

2015. Figures del desdoblament. Titelles, Màquines i Fils. Exhibition Catalogue. Jaume Reus, Anna Valls, Toni Rumbau. Ed. Comanegra.

 

2015. 12 Rounds. LP. Released by Chesapik. Premio Altaveu.

 

2013. Maquinofòbiapianolera. Carles Santos i cabosanroque. Corre la Voz Editorial.

 

2012. Maquinofòbiapianolera. LP. Released by K-Industria.

 

2010. Ball de pistons. LP. Self-released.

 

2007. Música a màquina. LP. Self-released..

 

2005. Laparador. Exhibition catalogue of LAparador. Edited by la Fundació Museu Abelló.

 

2005. França Xica. LP. Released by G3G Records.

 

2003. CaboSanRoque. LP. Released by G3G Records.

Theaching

Professors of facilities in the Master of Sound Art at UAB; Undergraduate professors at EINA (University Center for Design and Art of Barcelona); Guest professors at the Institut del Teatre de Barcelona and at the ENOA Community.

Grants and awards

2022. Grant for research and innovation in the field of Visual Arts. For the project “Journeys: From Reality to Fantasy.” Granted by the Department of Culture of the Generalitat de Catalunya.

 

2019. Grant for research and innovation in the field of Visual Arts. For the project “Demons.” Granted by the Department of Culture of the Generalitat de Catalunya. 

 

2016. Grant for research and innovation in the field of Visual Arts. For the project “Brossa Didn’t Make Me.” Granted by the Office of Support for Cultural Initiatives, from the Department of Culture of the Generalitat de Catalunya. 

 

2016. Bronze Laus Award. Catalog of the exhibition “The Patafísica Cobla 2015-2001.” (With Desescribir).

 

2015. Altaveu Award. 12Rounds. Best Urban Music Album.

 

2011. Innovation in Popular Culture Grant. Research grant awarded by the Jaume Casademont Foundation.

Contact

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    Petrotuning (2021)

    Installation

    Petrotuning

    Petrotuning explores the phenomenon of Auto-Tune, a digital effect that alters the pitch of a singing voice and that has become one of the defining sound traits of trap and other subgenres of contemporary urban music. This effect, through which a radically new form of vocal performativity has been created, is surprisingly linked to the world of crude oil.

     

    The Auto-Tune audio processor was invented at the end of the 1990s by Andy Hildebrand, who applied knowledge he had acquired as an expert in geophysical prospecting techniques for the petrochemical industry. By means of controlled underground explosions and microphones, Hildebrand could determine the location of oil deposits and the exact spot in which to start drilling. Taking as its starting point the curious genealogical relationship between Auto- Tune and oil, the Petrotuning installation explores the sound and erotic-sensual dimensions of petro-masculinity.

     

    Both cars and motorbikes have traditionally formed part of a particularly male imaginary in which the vehicle becomes a mechanical appendix of the driver’s body. The petrol tanks and exhaust pipes that form part of the Petrotuning installation recall the voluptuous forms of sexual organs, while at the same time evoking the sacred nature of relics and religious icons. This formal and iconographic ambiguity reinforces the disturbing sound dimension of an installation inspired both by the codes of sacred music and the melancholy that is characteristic of certain urban music genres.

     

    In Petrotuning, the rhythms of trap and reggaeton are provocatively mixed with the melody of “O vos omnes”, written by the 16th-century priest and composer Tomás Luís de Victoria. As such, the Cabosanroque duo proposes an extraordinary contemporary version of the lament, a musical form typically found in operatic or religious works that expresses grief, guilt or sadness. The result is an impossible petro-trap oratorio that appeals to the pain and deep contradictions of our oildependent society.

    Credits

    Curator: Arnau Horta
    Exhibition artists: Cabosanroque, Andrés Hispano & Fèlix Pérez-Hita, Cara Daggett
    Produced by Bòlit, Centre d’Art Contemporani. Girona and presented between 22th october and 9th january 2022 at Bòlit_StNicolau. Comissioned by Íngrid Guardiola.