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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    Sous les violons, la plage (2018)

    Interactive installation

    Sous les violons la plage

    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.

    Credits

    Produced by Festival Panoràmic de Granollers i la Fundació Lluís Coromina
    Premiered at Roca Humbert Fàbrica de Creació, Granollers (27/09/2018)