Antenas Sonoras, Traces of Dissent series & Audio: Alma (2026)
Group exhibition, Sommers Gallery
with José Garcia Oliva, Daniel Greenfield-Campoverde and Lucia Vera
Curated by Daniel Greenfield-Campoverde
Curatorial text by Jenn Ellis
Download PDF
The pot, or cacerola, serves as a voice of rage: a vessel of dissent embodied in material form. It shouts the tension between the hunger of the greedy and the hunger and disparity they create, piercing through ideologies crafted to maintain control and justify the violence of displacement and exploitation.
At the same time, it becomes an antenna, an instrument for transmitting dissent across distance. The cacerolazo belongs to crowds: a dense, public, collective sonic force. Here it is reconfigured through the condition of diaspora, a protest done from afar: dispersed, singular, yet still carrying the memory of collective rupture.
Embedded with transducers, the pots reactivate deconstructed cacerolazo recordings. Sound travels through the metal body of each vessel, turning the container into an emitter.
The sound piece, Alma (2026), is built from a recorded attempt to follow the rhythm of Alma Llanera by Alberto Romero on a pot. The melody appears and dissolves among percussive strikes, chanting, gunshots, sounds from student protests in Venezuela, and deep resonances, transmitted through the body of the pots. The sonic mark-making shifts with time and performance.
At the same time, it becomes an antenna, an instrument for transmitting dissent across distance. The cacerolazo belongs to crowds: a dense, public, collective sonic force. Here it is reconfigured through the condition of diaspora, a protest done from afar: dispersed, singular, yet still carrying the memory of collective rupture.
Embedded with transducers, the pots reactivate deconstructed cacerolazo recordings. Sound travels through the metal body of each vessel, turning the container into an emitter.
The sound piece, Alma (2026), is built from a recorded attempt to follow the rhythm of Alma Llanera by Alberto Romero on a pot. The melody appears and dissolves among percussive strikes, chanting, gunshots, sounds from student protests in Venezuela, and deep resonances, transmitted through the body of the pots. The sonic mark-making shifts with time and performance.
