Tiago Ângelo is an artist based in Porto, whose practice involves interrogating the relationship between music, technology and the body, at an experiential and sensorial level. Working on the interface of music, sound and interactive media to develop sound installations, musical instruments, interactive pieces and theater performances. His approach emerges from knowledge of electronics, programming and composition, inviting his listeners to experience the frequencies and vibrations of sound phenomena. His work seeks to explore and expand our relationship with music and sound, guiding us through a dialogue between technology and the sensory system.
Arranged in the space, the group of sculptures form a graphic pattern and, as an extension of the work experience and environment in the factory, they are punctuated by a set of structures, all painted in turquoise blue (very close to the oxidation tone typical of copper), that receive a set of sound objects and drawings cast on metal sheets - which are transformed from reclaimed objects. The volumes, which gain greater notoriety in the exhibition, are sculptures made from copper tubes that suggest a “snaking” through the space simultaneously with the presence of lines that anchor the movement much like an orchestra conductor signalling to demarcate a silence.
The drawings are affiliated with the work of Cornelius Cardew, a driver of the visual transformation of sheet music, who led musical production to new paradigms, considered “absurd”, “non-musical” or “obtuse” and which quickly expanded the possibilities of experimental music from the 70s.
(...) With the musical activation, both throughout the exhibition as well as during the performance events triggered by Tiago Ângelo, which allows us to feel through specialized microphones the vibration between one material and another, we are seduced into paying attention to the little things and a different way of understanding that allows us to hear voices, and qualities inherent to animals, plants and elements. The musical activation of the pieces and their silences produce an awareness of the space that goes beyond our capacity for vision. Progressing through space, observing one piece and then another, they “appear” behind our backs, due to their sound quality or stillness. This new capacity for experiencing space, possible due to a new way to experience sculpture, allows the exhibition visitor’s hyperawareness of their own body, making it more available to interact with the works.
